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ESgjglATALOGUE  OF 

vSSt AN  exhibiti°n 

bSElj   ILLUSTRATIVE 


OF  A  CENTENARY  OF  AR- 
TISTIC LITHOGRAPHY 
J796-J896 


AT  THE  GROLIER  CLUB, 

Twenty-nine  East  Thirty-second  Street,  New  York, 

March  the  Sixth  to  March  the  Twenty-eighth, 

MD.CCCXCVI 


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INTRODUCTION. 


ITHOGRAPHY,the  art  of  printing 
from  stone,  has  reached  its  cente- 
nary age.  This  occurrence  is  well 
worthy  of  commemoration  by  hold- 
ing a  review  of  its  achievements. 
The  exhibition  of  prints  to  which 
this  catalogue  is  to  serve  as  a  guide  has  been 
undertaken  with  that  end  in  view;  and,  in  spite 
of  our  isolation  from  the  chief  theater  of  the  early 
achievements  in  artistic  lithography,  enough  will 
be  found  in  the  collection  to  make  possible  the 
tracing  of  the  development  of  this  important  art 
from  its  infancy  in  Germany  to  our  own  latest 
home  products. 

The  story  of  the  invention  of  lithography,  and 
of  its  inventor,  Aloys  Senefelder,  has  been  told 
so  often  that  a  repetition  seems  trite;  but  the 
occasion  appears  to  call  for  a  condensed  recital  of 
the  principal  events  in  the  history  of  the  man 
whose  memory  we  honor  by  our  exhibition.  This 
recital  will  reveal  at  the  same  time  the  steps  taken 
to  reach  at  last  results  so  unexpected  by  him  and 
so  wonderful :  unexpected,  because  when  Sene- 
felder began  to  experiment,  in  the  search  after 
an  inexpensive  mode  of  printing  his  own  liter- 
ary productions,  he  had  no  idea  that  he  would 


4  INTRODUCTION. 

finally  invent  a  third  printing  process,  entirely- 
different  from  the  two  which  were  then  the  only 
ones  known  (intaglio  and  relief);  wonderful,  be- 
cause in  his  time  it  would  have  been  considered 
an  impossibility  to  take  an  impression  from  a  sur- 
face on  which  the  design  was  neither  in  relief 
nor  in  intaglio.  Such  an  undertaking  would  have 
been  thought  simply  absurd,  the  scheme  of  an 
idle  dreamer. 

Aloys,  the  eldest  son  of  Peter  Senefelder,  was 
born  in  Prague,  the  capital  of  Bohemia,  Novem- 
ber 6,  1 77 1.  His  leaning  was  toward  the  dra- 
matic arts,  but  his  father  prevailed  upon  him  to 
study  law.  While  a  student  of  law,  eighteen 
years  of  age,  he  wrote  poetry  and  a  play,  "  Der 
Maedchenkenner,"  which  latter  was  most  favor- 
ably received.  A  year  later  he  lost  his  father,  and, 
being  the  eldest  of  nine  children,  he  had  to  relin- 
quish his  law  studies  and  devote  himself  to  the 
support  of  the  family.  His  thoughts  at  first  nat- 
urally turned  to  the  dramatic  arts,  in  which  he 
had  already  achieved  some  success ;  and  he  put 
his  whole  energy  into  this  field  of  work,  acting 
in  the  double  capacity  of  author  and  performer. 
Two  years  of  this  life  was,  however,  enough  to 
cool  the  ardor  of  his  enthusiasm  for  the  stage, 
and  the  writing  of  plays  alone  continued  to  oc- 
cupy his  attention. 

Aloys's  business  talents  were  of  the  lowest  or- 
der; he  was  poor  and  in  debt  throughout  his  life. 
The  printing  of  his  plays  for  publication  was  too 
expensive  for  his  means,  and  he  tried  to  become 
his  own  printer ;  but  here  again  he  found  that  the 
purchase  of  types  required  capital  not  within  his 
reach,  and  he  was  obliged  to  exert  his  ingenuity 
to  devise  or  discover  some  substitute  for  types. 


INTRODUCTION.  5 

He  began  his  experiments  by  etching  on  cop- 
perplate ;  and  was  led,  for  economy's  sake,  to 
practise  the  necessary  reverse- writing  on  polished 
floor-tiles,  which  in  Munich  (where  he  then  lived) 
consist  of  a  close-grained  limestone  quarried  in 
the  neighboring  town  of  Solenhofen.  He  ob- 
served that  the  acid  used  for  etching  copper 
would  likewise  bite  stone,  and  that  to  correct  any 
error  a  retouching-ink  was  wanted.  To  this  end 
he  devised  a  compound  of  wax,  soap,  and  lamp- 
black, which  he  formed  into  sticks  to  be  dissolved 
for  use  with  pen  or  brush,  as  is  done  with  india- 
ink.  These  sticks  of  retouching-ink  formed  the 
first  and  most  important  step  toward  the  final 
invention  of  lithography.  The  special  ingredients 
entering  into  their  composition  alone  made  the 
invention  possible.  The  following  incident,  as 
told  by  himself,  which  bridged  the  chasm  sepa- 
rating the  old  from  the  new  art  of  printing,  will 
make  this  plain. 

It  was  in  the  year  1796  that  his  mother  called 
on  Aloys,  busy  with  his  experiments,  to  write  a 
memorandum  for  linen  to  be  delivered  to  the 
waiting  washerwoman.  Not  a  sheet  of  paper 
could  be  found ;  every  scrap  had  been  used  for 
proofs ;  and,  besides,  the  writing-ink  was  dried 
up.  In  this  emergency  he  seized  a  stick  of  his 
retouching-ink,  and  wrote  the  desired  memoran- 
dum on  one  of  the  polished  Solenhofen  stone 
slabs  which  happened  to  be  handy,  intending  to 
copy  it  on  paper  later.  Preparing  to  clean  his 
writing  from  the  stone,  the  thought  occurred  to 
him  to  submit  it  to  the  action  of  diluted  aquafortis 
and  observe  results.  He  found,  as  he  had  hoped 
and  expected,  that  the  acid  acted  rapidly  on  the 
stone  all  around  his  writing,  and  soon  left  this 


6  INTRODUCTION. 

latter  in  sufficient  relief  to  enable  him  to  print 
therefrom  as  easily  as  from  type. 

This  was  the  first  printing  from  stone  of  which 
Senefelder  then  had  any  knowledge;  and,  al- 
though true  lithography  as  we  know  it  to-day 
(that  is,  printing  from  a  flat  surface)  was  not 
evolved  by  him  until  two  years  later,  he  dates 
his  invention  from  the  time  of  this  happy  inci- 
dent, as  being  the  starting-point  for  all  his  sub- 
sequent discoveries. 

In  the  course  of  the  application  of  his  inven- 
tion to  practical  purposes,  Senefelder  continually 
sought  for  means  of  lessening  his  labor;  and  he 
found  that  by  writing  with  his  retouching-ink  on 
gummed  paper  and  then  transferring  this  writing 
from  the  paper  to  his  stone,  in  the  manner  at  pres- 
ent so  well  known,  he  could  save  the  (to  him) 
more  difficult  process  of  reverse-writing  on  the 
stone  itself.  In  the  course  of  this  process  he 
observed  that,  accidentally  immersing  such  a 
gummed  sheet  of  paper  covered  with  writing  in 
water  on  the  surface  of  which  there  happened  to 
be  a  few  drops  of  oil,  the  oil  was  not  absorbed 
by  the  paper,  but  accumulated  on  the  writing, 
which,  as  we  know,  was  done  with  a  greasy  sub- 
stance. This  observation,  that  oil  was  repelled 
by,  the  moist  surface  of  the  gummed  paper  but 
absorbed  by  the  ink,  was  sufficient  to  lead  him  to 
grasp  the  principle  and  apply  it  to  his  stone  slabs. 
Instead  of  etching  his  writing  into  relief,  he  sim- 
ply treated  it  with  acidulated  gum  solution,  not 
of  sufficient  strength  to  act  perceptibly  on  the 
stone.  The  result,  in  inking-up,  met  his  highest 
expectation.  As  long  as  the  stone  was  kept 
moist  the  blank  parts  repelled  the  fatty  printing- 
ink,  and  the  greasy  writing  or  drawing  could  alone 


INTRODUCTION.  7 

be  charged.  This  discovery  proved  the  founda- 
tion for  all  the  various  processes  of  lithography, 
or  chemical  printing,  as  Senefelder  called  it  at 
the  time. 

The  ingenuity  and  tireless  energy  displayed 
by  Senefelder  in  his  efforts  to  broaden  the  field 
of  the  application  of  his  discovery  to  commercial 
and  artistic  purposes,  to  invent  presses,  tools,  ma- 
chinery, and  to  keep  his  head  above  water  in 
the  mean  time,  deserve  our  highest  admiration. 
He  was  an  inventor  of  the  true  type,  never  cowed 
by  difficulties  to  overcome,  always  hopeful,  al- 
ways sanguine  of  success,  and  withal  generous 
and  open-handed  to  a  fault. 

Senefelder  died  February  24,  1834,  after  he 
had  elaborated  all  the  processes  now  in  vogue 
except  photolithography.  He  lived  long  enough 
to  witness  the  introduction  of  his  art  into  all 
the  civilized  countries  of  the  globe ;  long  enough 
to  witness  its  highest  artistic  achievements  in 
black  and  white,  which  will  be  standards  of  per- 
fection for  all  time  to  come. 

It  is  to  be  remarked  here  that  the  invention 
could  not  have  been  made  in  any  other  country 
in  the  world,  as  Solenhofen,  in  Bavaria,  alone 
furnishes  that  particular  quality  of  limestone  use- 
ful for  lithography.  It  is  only  quite  lately  that 
quarries  of  a  similar,  though  inferior,  quality  of 
this  mineral  have  been  opened  in  America. 

Lithography  is  the  most  versatile  of  all  known 
methods  of  reproduction.  It  will  admit  of  flat, 
even  tints,  and  of  tints  gradated  from  the  darkest 
shade  to  highest  light,  while  it  can  equally  as 
well  imitate  a  crayon-drawing,  a  line-engraving, 
or  a  stipple-engraving.  Add  to  this  the  latest 
discoveries  in  the  application  of  photography  to 


8  INTRODUCTION. 

the  preparation  of  printing-plates,  and  the  facil- 
ities which  the  process  offers  to  color-printing,  as 
well  as  to  artistic  expression  in  black,  and  we 
must  admit  that  the  genius  of  Senefelder  has  be- 
queathed to  art  and  commerce  an  heirloom  of 
incomparable  value. 

Germany,  of  course,  profited  first  and  most 
from  Senefelder;  next  to  it,  France,  England, 
and  other  European  countries;  but  not  least, 
our  own  United  States,  though  latest  in  the 
field.  France  (where  the  process  was  first  suc- 
cessfully introduced,  in  Paris,  by  the  Comte  de 
Lasteyrie  in  1815,  followed  by  Engelmann  in  the 
following  year)  has  furnished  the  greatest  num- 
ber of  artist  lithographers,  although  Germany  has 
proved  not  deficient  in  that  direction — we  need 
merely  to  mention  the  names  of  Strixner,  Piloty, 
Adolf  Menzel,  Feckert,  Kriehuber,  and  scores  of 
others;  but  for  brilliant  work  the  French,  con- 
sidering their  achievement  as  a  whole,  excel  the 
Germans.  The  introduction  of  lithography  into 
the  United  States  dates  from  the  year  18 19,  or 
even  earlier — Boston,  Philadelphia,  and  New 
York  each  claiming  the  honor  of  the  first  press. 
The  earliest  lithograph  published  in  the  United 
States  is  presumably  the  plate  drawn  and  printed 
by  Bass  Otis  for  the  "  Analectic  Magazine"  for  July, 
1819.  In  the  description  accompanying  this  ex- 
ample of  early  art  we  are  told  that  it  was  drawn 
upon  a  stone  brought  from  Munich.  "  But,"  con- 
tinues the  writer,  "  the  art  has  been  successfully 
tried  on  specimens  of  stone  from  Frankfort,  in 
Kentucky."  Few  painters  of  our  country  have 
devoted  their  genius  to  drawing  on  stone,  but 
among  them  may  be  mentioned  Rembrandt 
Peale,  J.  Foxcroft  Cole,  Winslow  Homer/Thomas 


INTRODUCTION.  9 

Moran,  etc.,  while  Newsam,  Sarony,  Charles 
Parsons,  and  Baker  may  be  named  as  prominent 
professional  lithographers.  Almost  all  the  work 
done  here  is  for  industrial  and  purely  commer- 
cial purposes,  but  the  commercial  product  in  this 
country  has  reached  an  artistic  development 
which  makes  it  certainly  equal  to  the  best  that 
is  produced  in  Europe;  especially  is  this  the 
case  in  dry  etching  with  the  diamond  and  in 
chromolithography. 

The  honor  of  the  invention  of  chromolithog- 
raphy belongs,  no  doubt,  to  Senefelder  himself, 
as  in  his  work  on  lithography,  published  in  1818, 
he  employs  already  prints  in  which  he  uses  color, 
and  speaks  in  this  connection  of  the  possibility 
of  making  facsimiles  of  oil-paintings.  He  thus 
published  the  idea  and  furnished  the  means  by 
which  to  carry  it  out,  requiring  simply  the  cun- 
ning hand  of  the  patient  intelligent  experimenter 
to  gain,  step  by  step,  the  present  perfection. 

So  much  for  lithography  as  an  item  of  gen- 
eral interest.  For  the  details  of  the  various 
processes  employed  by  the  craft,  as  etching,  pen- 
drawing,  crayon-drawing,  wash-  and  stump-draw- 
ing, etc.,  we  must  refer  those  interested  to  the 
manuals  on  the  practice  of  the  art,  of  which  a 
great  number  have  been  published. 

The  great  revival  in  the  art  for  true  artistic 
expression  now  sweeping  over  Europe  will,  we 
hope,  soon  find  an  echo  on  the  shores  of  the 
New  World.  That  lithography  is  preeminently  the 
handmaid  of  the  artist,  who  desires  to  see  his 
work  reproduced  in  the  spirit  as  conceived  by  him, 
is  proven  by  the  work  of  the  masters  that  has 
come  to  us  from  the  past  generation;  and  who 
can  doubt,  in  examining  the  prints  on  exhibition, 


IO  INTRODUCTION. 

that  for  tone  and  color  qualities,  true  to  the  ar- 
tist's conceptions,  it  is  unexcelled  by  any  other 
of  the  reproductive  processes?  Lithography 
amply  deserves  the  high  place  as  the  most  facile 
medium  for  artistic  expression  and  reproduction 
which  it  has  been  accorded  by  the  foremost 
artists  of  a  past  generation,  and  which  it  is  fast 
coming  to  be  awarded  again,  after  all  other  avail- 
able mediums  have  had  their  turn.  Let  the  ar- 
tists heed  the  appeal. 

Louis  Prang. 


AN  ATTEMPT  AT  A 
BIBLIOGRAPHY: 

A  list  of  some  Works  on  Lithography, 


[Although  this  list  makes  no  pretensions  to  completeness, 

yet  it  is  believed  that  all  important  books  on  the  history 

or  technique  of  the  art  will  be  found  noted  here,'} 


Anleitung  zum  Steindruck.  [Anon.]  Tu- 
bingen, 1810.     40. 

Aresti,  Jos.  Lithozographia ;  or,  aquatinta 
stippled  gradations  produced  upon  drawings 
washed  or  painted  on  stone.  London,  1856. 
8°. 

Audsley,  G.  A.  The  art  of  chromolithogra- 
phy  popularly  explained.  London,  1883.  F°. 

Bardet  di  Villanova,  Federico.  Istruzioni 
su  i  tre  principali  metodi  dell'  arte  litografica. 
Napoli,  1830.     80. 

Bankes,  .     Lithography;    or,  the  art  of 

taking  impressions  from  drawings  and  writ- 
ing made  on  stone,  [by  Bankes  ?]  With 
specimens.  ...    2d  ed.     London,  1816.     8°. 


12  BIBLIOGRAPHY. 

Beyer,  L.  M.  Leptolithographie  oder  Kunst, 
auf  von  2  bis  6  Linien  Dicke  ohne  Verande- 
rung  der  Presse  nach  alien  in  der  Lithogra- 
phic bekannten  Manieren  zu  drucken.  .  . 
Eichstadt,  1831.     40. 

Bouchot,  Henri.  La  lithographic  (Biblio- 
theque  de  Fenseignement  des  beaux-arts.) 
Paris  [1895].     12°. 

Brandin,  Fr.  Wlh.  Praktische  Anweisungzum 
Steindruck.     Berlin,  1821.     8°. 

Bregeaut,  L.  R.  Manuel  complet  theorique 
et  pratique  du  dessinateur  et  de  rimprimeur 
lithographe.  1827.  120.— 2d  ed.,  Paris, 
1827. — 3d  ed.,Troyes,  1834. —  Nouvelle  ed., 
Paris,  1839. 

[Same.      Another  ed.]     Nouveau  manuel 

complet  de  Pimprimeur-lithographe.  Nou- 
velle €d.f  tres  augmentee  par  M.  Knecht .  . . 
et  M.  J.  Desportes.  (Manuel-Roret.)  Paris, 
1850.     180.     With  Atlas. 

For  later  edition,  see  Knecht. 

— —  [Same.  German  translation :]  Vollstan- 
diges  Handbuch  fur  Lithographen .  .  .  ;  aus 
dem  Franzosischen.  2.  Ausgabe  .  .  .  Ulm, 
1829.   80. 

Bry,  Auguste.  Traite"  de  Tautographie  ...  2? 
6d.     Paris,  1862.     12°. 

Centenaire  de  la  lithographic  Catalogue 
officiel  de  1' Exposition :  1795-1895.  [Paris, 
1895.I     80. 


BIBLIOGRAPHY.  13 

Chevallier,  J.  B.  A.,  #«</ Langlume, 


Memoire  sur  Tart  du  lithographe.     Amelio- 
rations a  y  apporter :  Paris,  1829.     8°. 
Only  50  copies  printed. 

Traite   complet   de  la  lithographic;    ou, 


manuel  du  lithographe ;  avec  des  notes  par 
Mantoux  et  Joumar.     Paris,  1838.     8°. 

Duchatel,  F.  (essay  eur  a  la  Societe  des  Impri- 
tneries  Lemercier).  Traite  de  lithographie  ar- 
tistique  .  .  .  Paris  [1893].      Sm.  F°. 

Eberhard,  H.  W.  Die  Anwendung  des  Zinks 
statt  der  Stein-  und  Kupferplatten  zu  den  ver- 
tieftenZeichnungsarten.  .  .  Darmstadt,  1822. 
8°. 

Praktischer    Unterricht    im     Steindruck. 


Darmstadt,  1823.     8°. 

Ecole  des  Beaux-Arts.  Exposition  gen£- 
rale  de  la  lithographie  .  .  .  ,  16  avril  —  24 
mai,  1891.     [Catalogue.]     Paris,  1891.     8°. 

Engelmann,  Godefroy  or  Godefroi.  Manuel 
du  dessinateur  lithographique  .  .  .  Paris, 
1823.    8°. — 2ded.,  1824. — 3d  ed.,  1830. 

Rapport  sur  la  lithographie  introduite  en 

France  par  Pauteur.     Mulhausen,  1815.   40. 

Traite  th^orique  et  pratique  de  lithographie. 

Mulhouse,  Paris,  i839-,4o.     40. 

[Same,    German    translation :]     Das    Ge- 

sammtgebiet  der  Lithographie  .  .  .  ;  mit  den 
nothigen  Zusatzen  versehen  von  W.  Pabst 
und  A.  Kretzschmar.  .  .  2.  Ausgabe.  Leip- 
zig, 1843.     4°. 


14  BIBLIOGRAPHY. 

Every  man  his  own  printer ;  or,  lithography 
made  easy.     [Anon.]     London,  1854.     8°. 

Ferchl,  Frz.  Maria.  Geschichte  der  Errichtung 
der  ersten  lithographischen  Kunstanstalt  bei 
der  Feiertags-Schule  fur  Kunstler  und  Tech- 
niker  in  Munchen.     Miinchen,  1862.     8°. 

Figaro  lithographe.  [Special  illustrated  num- 
ber of  the  "  Figaro,"  issued  in  celebration  of 
the  centenary  of  lithography,  Paris,  189 5.] 
F° 

Geheimniss  der  Steindruckerei,  Das;  von 
einem  Kunstfreunde.     Schweinfurt. 

Geheimniss  des  Steindrucks,  Das.  Leipzig, 
1828.     80. 

Hempstead  conversazioni.  Sketches  in  litho- 
tint  and  lithography,  in  illustration  of  the  dif- 
ferent processes.     1847.     4°- 

Heurtier,  Regnault,  Guerin,  Desnoy- 

ers  and  Castela.  Rapport  fait  a  PAca- 
d6mie  des  Beaux-Arts  sur  la  lithographie,  et 
particulierement  sur  un  recueil  de  dessins 
lithographies  par  M.  Engelmann.  Paris,  Jan., 
1817.     40. 

Hove,  F.  B.  van.  Autographie,  oder  das 
Verfahren,  jede  auf  autographischem  Papier 
verfertigte  Zeichnung  oder  Schrift  auf  Stein 
iiberzutragen  und  schnell  zu  vervielfaltigen. 
Hamburg,  1828.     160. 

Der  Steindruck  nach  den  sichersten  und 

untruglichsten    Grundsatzen   und   alien   bis 


BIBLIOGRAPHY.  I  $ 

heute  in  der  Lithographie  gemachten  Fort- 
schritten  und  Verbesserungen  fasslich  darge- 
stellt  .  .  .     Hamburg,  1828.     8°. 

Hullmandel,  C.  The  art  of  drawing  on  stone 
.  .  .  London  [1824].  8°. — 2d  ed.,  1835. — 
Another  ed.,  1840. 

On  some  important  improvements  in  litho- 
graphic printing.     [London,  1827.]     8°. 

On  some  further  improvements  in  litho- 
graphic printing.     London,  1829.     8°. 

Reply  to  some  of  the  statements  in  an  ar- 
ticle entitled,  "  The  history  of  lithography," 
published  in  the  "  Foreign  Review,"  no.  vii., 
for  July,  1829.     London,  1829.     8°. 

See  also  Raucourt. 

Knecht, .     Nouveau  manuel  complet  du 

dessinateur  et  de  Pimprimeur-lithographe. 
Nouvelle  Edition,  entierement  refondue  .  .  . 
(Manuel-Roret.)  Paris,  1867.  120.  With 
atlas. 

For  earlier  editions  see  Br6geaut,  L.  R. 

Kohl,  Frz.  Praktische  Anleitung  zur  Litho- 
graphie.    Wien,  1820.     8°. 

Lithographers'  directory  :  directory  for  lith- 
ographers, photographers  [etc.],  in  the  U.  S., 
Canada,  Mexico,  Central  and  South  Amer- 
ica. New  York,  1887-88.  2d  annual  edition, 
1889. 

Lorilleux,  C.  Traite*  de  lithographie.  Paris, 
1889.     8° 


1 6  BIBLIOGRAPHY. 

Mairet,  F.  Notice  sur  la  lithographie  ou  Tart 
(Timprimer  sur  pierre,  par  M  *  *  *  [Anon.] 
Dijon,  1818.     120. 

Reprinted  with  the  author's  name,  Chatillon-sur-Seine, 
1824. 

[Same.  German  translation :]  Kurzer  Abriss 

der  Lithographie  oder  Steindruckerei ;    aus 
dem  Franzosischen.     Pesth,  1819.     8°. 

Mason,  Cyrus.  Practical  lithographer.  Lon- 
don, 1852.      12°. 

Monrocq,  L.  Manuel  de  lithographie  sur 
zinc.     Paris,  1885.     8°. 

Muller,  Frederik,  &  C1?.  La  lithographie : 
ecoles  franchise,  neerlandaise,  allemande,  an- 
glaise  et  russe.  Catalogue  a  prix  marques. 
Amsterdam,  1890.     8°. 

Peignot,  G.  Essai  historique  de  la  lithogra- 
phie. .  .  ;  par  G.  P.  [i.  e.  G.  Peignot.]  Paris, 
1819.     8°. 

Contains  a  u  notice  bibliographique  des  ouvrages  qui 
ont  paru  sur  la  lithographie,"  which  gives  interesting  da- 
ta in  regard  to  early  articles  in  scientific  and  technical 
periodicals. 

Pescheck,  H.  E.  Das  Ganze  des  Steindrucks 
.  .  .  (Neuer  Schauplatz  der  Kiinste  und 
Handwerke  .  .  .;  43.  Band.)  Weimar,  1829. 
120. — 3.  Auflage,  1856. 

For  later  editions,  see  "Weishaupt,  H. 

Rapp,  Hnr.  Das  Geheimniss  des  Steindrucks 
.  .  . ;  beschrieben  von  einem  Liebhaber.  Tu- 
bingen, 181  o.     12°. 


BIBLIOGRAPHY.  1 7 

RailCOTirt,  Col.  Memoire  sur  les  experiences 
lithographiques  faites  a  Pficole  royale  des 
Ponts  et  Chauss6es  de  France ;  ou,  manuel 
th^orique  et  pratique  du  dessinateur  et  de 
l'imprimeur  lithographique.  Toulon,  1819. 
80. 

[Same,  English   translation :]    Manual   of 


lithography ;  or,  memoir  on  the  lithographi- 
cal  experiments  made  in  Paris,  at  the  Royal 
School  of  the  Roads  and  Bridges ;  translated 
...  by  C.  Hullmandel.     London,  1820.  8°. 

Richmond,  W.  D.  Colour  and  colour  print- 
ing as  applied  to  lithography.  (Wyman's 
technical  series.)     London,  1885. 

The  grammar  of  lithography.      (Wyman's 

technical  series.)  London,  1878,  1879.  120. 
—6th  ed.,  1880.— 9th  ed.,  1886. 


[Same.     German  translation  :]  Grammatik 

der  Lithographie  .  .  .     Leipzig,  1880.     8°. 

Senefelder,  Aloys.  L'aquatinta  lithogra- 
phique, ou  maniere  de  reproduire  les  dessins 
faits  au  pinceau.  Paris,  Treuttel  cV  Wurtzy 
1824.     40. 


—  Musterbuch  uber  alle  lithographischen 
Kunstmanieren.  Munch  en,  1809.  4  parts. 
Fo. 

Portefeuille  lithographique,  ou  recueil  de 


sujets  de  divers  genres,  dessin£s  et  imprimis 
sur  planches  lithographiques  nouvellement 
inventus  pour  la  multiplication  de  tous  des- 
sins, etc.  Paris,  Senefelder,  1823.  Pamphlet 
of  12  plates.     F°. 

3 


1 8  BIBLIOGRAPHY. 

Recueil  papyrographique :   premiers  essais 

d'impression  chimique  sur  cartons  lithogra- 
phiques  nouvellement  inventus  par  M.  Aloys 
Senefelder.     40. 

Vollstandiges  Lehrbuch  der  Steindruckerey 

.  .  .  Munchen,  18 18.  Sm.  40. — Cheaper  ed., 
1821  and  1827. 

Plates  to  this  with  the  title :  Sammlung  von  mehreren 
Musterblattern  in  verschiedenen  Kunstmanieren,  als  Bey- 
lage  zu  Alois  Senefelders  Lehrbuch  des  Steindrucks. 
Munchen,  1818.     40. 

[Same.      English  translation  :]     Complete 

course  of  lithography.     London,  18 19.     40. 

[Same.     French  translation  :]    L'art  de  la 

lithographie  .  .  .  Paris  [etc.],  Treuttel  &* 
Wurtz,  18 1 9.     40.     Plates,  F°. 

Senefelder,  Karl.      Lehrbuch  der  Lithogra- 
phie .  .  .     Regensburg,  1833  [1832].     8°. 

Stanbury,  G.     Guide  to  lithography.      New 
ed.     London,  1854.     8°. 

Straker,  C.     Instructions  in  the  art  of  lithog- 
raphy.    London,  1867.     8°. 

Unterricht  fur  Ktinstler  und  Kunstliebhaber 
die  auf  Stein  zeichnen  wollen.     Berlin,  1823. 


4°. 


Printed  in  Litho. 


Vidal,  Leon.  Traite  pratique  de  photolitho- 
graphic .  .  .  (Annales  de  la  photographic 
Bibliotheque  photographique.)     Paris,  1893. 

12°. 


BIBLIOGRAPHY.  19 

Waldhecker,  C.  F.  Die  Kunst  einen  gleich- 
formigen  Druck  beim  Steindruck  zu  erreichen, 
nach  einer  neuern  wohlfeilen  Methode  durch 
Angabe  einer  neuen  Presse.  Osnabruck, 
1832.     So. 

Weishaupt,  Heinr.  Das  Gesammtgebiet  des 
Steindrucks  ...  4.  Aufl.  von  "  Pescheck. 
Das  Ganze  des  Steindrucks  "  in  ganzlicher 
Umarbeitung.  (Neuer  Schauplatz  der 
Kiinste  und  Handwerke  .  .  .  ;  43.  Bd.) 
Weimar,     1865. — 5.  Auflage,  1875. 

For  earlier  editions,  see  Pescheck,  H.  E. 


NOTES. 


The  works  enumerated  under  an  artist's  name  are 
lithographed  by  him  in  each  case,  unless  specially  other- 
wise noted.  The  oft-appearing  "  lith.  by  "  refers  to  the 
printer. 

When  more  than  one  example  by  an  artist  are  exhibited, 
they  are  placed  together,  though  of  different  dates,  the 
earliest  work  in  each  case  fixing  the  artist's  chronological 
position  in  the  catalogue ;  but  this  order  has  not  always 
been  preserved  on  the  walls,  on  account  of  the  greatly 
varied  sizes  of  the  prints,  and  the  restricted  size  of  the 
cases.  For  the  many  undated  prints  the  dates  have, 
whenever  possible,  been  found  in  various  books  of  refer- 
ence; or,  that  failing,  approximate  dates  have  been  as- 
signed. 

It  has  naturally  not  always  been  possible  to  secure  the 
best  example  of  an  artist's  work,  but,  as  a  rule,  represen- 
tative pieces  are  shown. 

In  the  sketches  of  the  artists  biographical  detail  has  not 
generally  been  aimed  at.  The  object  has  been  to  deal  sim- 
ply with  each  man  as  a  lithographer ;  and  where  amplifi- 
cation has  been  indulged  in,  the  intention  was  to  give 
information  regarding  the  history  of  the  art. 

Limited  space  made  it  necessary  to  confine  the  present 
exhibition  to  artistic  lithographs  in  black  and  white,  and  to 
one,  two,  or  at  most  three  specimens  of  each  artist's 
work.  At  some  time  in  the  future,  however,  the  Grolier 
Club  will  hold  an  exhibit  of  artistic  color-printing  and 
general  commercial  work,  accompanied  by  the  implements 
of  the  art  and  trade. 

The  usual  difficulties  of  cataloguing  have  been  enhanced 
in  the  present  case  by  the  utter  absence  of  any  previous 
work  of  the  kind.  The  information  given  was  in  many 
cases  discovered  only  by  search  through,  and  comparison 
of,  numerous  authorities. 


CATALOGUE. 


SENEFELDER,  Aloys. 

Inventor  of  lithography  (i 771-1834).  (For  biog- 
raphy, see  the  Introduction  to  this  catalogue.  See, 
also,  the  Bibliography  for  editions  of  his  work  on 
lithography.) 

1  A  plate  printed  by  Senefelder  (1808). 

"  The  plate  of  fragments  of  antique  pottery  is  from 
'Collection  of  Roman  Antiquities  in  Bavaria,'  Mu- 
nich, 1808.  Ferchl,  p.  55,  says  that  these  plates  were 
printed  by  Aloys  Senefelder,  the  inventor  of  lithog- 
raphy, himself." 

2  Portrait  of  Senefelder,  by  N.  H.  Jacob, 

printed  by  G.  Engelmann  (1819). 

3  Portrait   of  Senefelder,  by   Fr.  Hanf- 

staengl  (1834). 

4  Autograph  receipt. 

Translation :  u  I  herewith  acknowledge  the  receipt 
of  a  further  sum  of  three  hundred  francs  on  account, 
from  Messrs.  Treuttel  und  Wiirtz. 

"Paris,  April  1st,  1820. 
"  Good  for  300  fr. 

"Aloys  Senefelder." 


22  CATALOGUE  OF 

FISCHER  Joseph. 

Austrian  painter  and  engraver  (i  769-1822).  Vis- 
ited Paris  and  England.  Enjoyed  the  patronage  of 
Prince  Nicholas  Esterhazy. 

5  A  group  of  five  at  table  (London,  1803). 

From  nature.  Very  rare.  "  In  Germany,  the 
first  lithographs  (figure-subjects)  were  executed  in 
1805,  and  even  then  but  few." 

WAGENBAUER,  Max  Joseph* 

Bavarian  landscape-painter  of  note  in  his  time 
(1 774-1829).  Paid  much  attention  to  the  infant  art 
of  lithography,  and  worked  on  the  stone  with  some 
freedom  of  touch. 

6  Landscape  (Munich,  probably  1804). 

" Max  Wagenbauer,  whom  Ferchl  in  his  'History 
of  the  Organization  of  the  first  Lithographic  Art-estab- 
lishment '  (Munich,  1862),  classes  among  '  the  first 
seven  patriotic  Munich  artists  '  who  practised  lithog- 
raphy. On  p.  46,  among  the  works  executed  by 
Wagenbauer  in  1804,  he  mentions  'six  small  land- 
scapes, oblong,'  of  which  this  would  appear  to  be  one." 

Twenty  plates  by  M.  J.  Wagenbauer  were  issued 
in  a  folio  volume  with  the  title :  "  Vorlagen  fur  Land- 
schaft-Zeichner  "  (Miinchen,Im  Verlage  der  Lithogr. 
Kunstanstalt  an  der  Feyertags-Schule,  1823).  These 
studies  of  trees  and  landscapes  are  rare. 


DALARMI  (or  D'Alarmi),  A. 

German  artist. 

7  Peasant's     hut    at    Wolfahrtshausen 
(Munich,  1805). 

Signed,  A.  D.     "  Exceedingly  rare." 


LITHOGRAPHY.  23 

WINTER  (or  Wittiter),  Raphael 

German  painter  and  etcher  (1784- 1 852).  Taught 
by  Mettenleiter.  Made  a  specialty  of  animal  sub- 
jects. According  to  Bryan  ("  Dictionary  of  Painters 
and  Engravers  "),  Winter  "  started  a  lithographic  es- 
tablishment in  Rome,  and  afterward  became  director 
of  the  Royal  Lithographic  Institute  of  Bavaria." 
From  Nagler  ("  Ktinstler-Lexicon  " )  we  learn  that  in 
1809  he  found  employment  as  chief  lithographer  in 
the  lithographic  establishment  of  the  Royal  Council 
of  State,  in  Munich,  organized  by  Mettenleiter,  and 
in  185 1  was  still  inspector  of  that  institute.  His 
lithographs,  with  some  other  early  work,  such  as  the 
Due  de  Montpensier's  efforts  (1805-06),  form  the  point 
of  departure  of  artistic  lithography. 

8  Snarling  dogs  (1806). 

In  1817,  an  oblong  folio  was  published  with  the 
title:  "  Anleitung  zur  Thier-Zeichnung  von  Raphael 
Winter"  (Miinchen,  Lithograph.  Kunstanstalt  bey 
der  Feyertags-Schule).     It  contains  14  plates,  and  is 


PILOTY,  Ferdinand* 

German  lithographer  (1785  or  '86-1844).  During 
1808-37,  in  collaboration  with  artists  like  Strixner, 
Flachenekker,  and  J.  Woelffle,  he  issued  several  col- 
lections of  reproductions  of  masterpieces  in  the  Royal 
Galleries  at  Munich  and  Schleissheim,  etc.  The  work 
of  these  men  was  clean,  careful,  and  creditable,  some- 
times very  artistic  in  feeling, —  although  a  certain  deli- 
cacy of  sympathy  seems  lacking, — and  honest,  if  some- 
what monotonous. 

9  Portrait     of    Franz     Snyders     (about 

1810?). 

After  A.  van  Dyck.  This  piece  appeared  in  "  Ko- 
niglich-baierischer  Gemalde  Saal  zu  Miinchen  und 
Schleissheim,  lith.  von  Strixner,  Piloty,  Hohe,  Selb, 
und  Flachenekker"  (Munich,  1817-36),  2  vols., folio. 


24  CATALOGUE  OF 

MASSAI,  Pietro. 

10  Romagna,  environs  of  Firenzuola 
(about  1810  ? ). 

"  Pietro  Massai,  dis°    Litografia  Salucci." 
Shows  the  characteristic  of  all  early  lithographs,  a 
silvery  gray  tone. 

R*  ♦  ♦ 

11  Horsemen  (18U  or  '15?). 

"  Sauerveid  inv.     R.  .  .  del. 
"  Lithographed  by  C.  de  Lasteyrie." 
The  anonymous  artist  might  well  have  signed  his 
name  to  this  interesting  plate,  which  in  force  of  ex- 
ecution and  characterization  might  bear  comparison 
with  H.  Vernet's  "  Lancer." 

WINTTER  (or  Winter),  Heinrich  E. 

Bavarian  painter  and  lithographer  ( 1 788-1825),  bro- 
ther of  Raphael.  Pupil  of  Mettenleiter;  in  1809  ob- 
tained a  position  in  the  lithographic  establishment 
of  the  Royal  Council  of  State  in  Munich. 

12  Maria  Antonia  Walburga  (1815). 
ODEVAERE,  Joseph  Dionisius. 

Belgian  historical  painter  ( 1 775-1830).  Court 
painter.  In  1828,  Nagler  tells  us,  "he  combined 
with  Paelink,  von  Bree,  Ducq,  Goubaud,  and  Renard 
for  the  publication  of  the  "  Fastes  belgiques  :  galerie 
lithogr.  des  principaux  actes  d'h£roisme  civil  et  mili- 
taire."  Jobard  of  Brussels  directed  the  printing. 
Odevaere  himself  lithographed  some  plates. 

13  Portrait  of  himself  (Paris,  1816). 

The  artist  faces  the  spectator,  a  cloak  thrown 
loosely  over  his  shoulders,  holding  a  small  litho- 
graphic stone,  on  the  top  edge  of  which  is  written : 
"  I.  Odevaere  se  ipsum  littographice  del.  parisiis 
1816." 


LITHOGRAPHY.  2$ 

SCHINKEL,  Karl  Friedrich. 

Celebrated  German  architect  and  landscape-painter 
(1781-1841). 

14  Castle  Prediama,  at  Crein,  12  hours 
from  Triest  (1816). 

Drawn  from  nature,  with  the  pen,  on  stone.  Lith- 
ographic print  by  Fr.  Klinsmann,  Berlin. 

VERNET,  Hor  ace. 

French  military  painter  of  note  (1 789-1863).  One 
of  the  very  earliest  of  artist-lithographers.  In  his 
work  on  the  stone  he  depicted  familiar  and  humorous 
scenes  in  military  life  with  a  light  and  lively  touch. 
After  some  years  he  abandoned  the  pale  manner  for 
a  heavier  crayonage,  of  which  M  Les  Forcats  "  is  a 
noteworthy  example. 

A  "  Catalogue  de  l'ceuvre  lithographique  de  M. 
J.  E.  Horace  Vernet,"  by  Bruzard,  was  issued  at  Paris 
in  1826;  Beraldi  finds  it  incomplete  and  unclassified. 

15  Lancer  (1816). 

Lithographed  by  G.  Engelmann.  Called  by 
Beraldi  (  who  names  Lasteyrie  as  the  printer !  )  the 
"veritable  starting-point  of  painter-lithography." 

16  African  hunter  (1818). 

Unusually  careful,  effective,  and  elaborate  in 
execution. 

17  A  la  grace  de  Dieu :  Hussar  embrac- 
ing a  girl. 

Lithographic  printing  establishment  of  C.  de  Las- 
teyrie, Rue  du  four.  St.  Germain,  No.  34. 

ENGELMANN,  Gottfried  or  Godefroy. 

Born  at  Mulhouse,  1 788,  died  in  Paris,  1839. 
Studied  under  Regnault.  Went  to  Munich  to  gain 
a  knowledge  of  the  technique  of  lithography  from  the 
inventor  and  under  the  direction  of  Ch.  von  Mann- 


26  CATALOGUE  OF 

lich,  and  followed  Lasteyrie  in  introducing  this  new 
art  in  Paris,  where  he  opened  an  establishment  in 
1816.  A  good  draftsman.  Issued  several  manuals  on 
his  art.     (See  the  Bibliography.) 

18  Diploma  awarded  to  G.  Engelmann, 
17th  March,  1817,  by  the  Athen£e  des 
Arts,  for  his  improvements  in  the 
lithographic  art.  Facsimile  of  sig- 
natures and  lithographic  study  (1817). 

GROS,  Baron* 

A  noted  French  historical  painter.  Pupil  of  David 
(1771-1835).  Executed  two  lithographs  in  1817, 
"  Arabe  du  desert "  and  the  following: 

19  Mameluke  on  horseback,  with  an 
attendant  (1817). 

VIGNERON,  Pierre  Roch. 

French  painter  (i  789-1872).  Executed  a  number 
of  lithographs,  portraits,  and  figure  subjects.  "  Vig- 
neron,"  says  Bouchot,  "had  adopted  the  lachrymose 
and  sentimental  style  which  marks  the  transition  be- 
tween the  classicism  of  David  and  the  romanticism 
of  Delacroix.  .  .  .  Later  on  Vigneron,  in  his  por- 
traits, imitated  Grevedon  or  Deveria." 

20  Portraits    of    the    Vigneron     family 

(1817). 

Lithographed  by  C.  de  Lasteyrie.  "  Very  rare, 
very  fine,  and  very  early.  A  good  and  curious  ex- 
ample of  the  beginnings  of  lithography  in  France." 

21  Portrait  of  Wilhelmine  Schroder-Dev- 
rient  (about  1840). 

Proof  before  all  letters.  With  autograph  lines  of 
the  singer. 

OTIS,  BASS. 

American  portrait-painter  (1784-1861). 


LITHOGRAPHY.  27 

22  Landscape  (1819). 

Supposed  to  be  the  earliest  lithograph  produced 
in  the  United  States.  Drawn  and  printed  by  Otis 
(the  stone  was  brought  from  Munich),  and  published 
in  the  "  Analectic  Magazine  "  for  July,  1819  (though 
the  print  is  dated  1820!).  "  The  print  has  little  re- 
semblance to  the  modern  lithograph,  the  lines  being 
incised  or  corroded,  and  therefore  it  has  more  the 
character  of  a  coarse  etching,  but  it  is  interesting  in 
the  history  of  the  art." 

AUBRY-LECOMTE* 

French  lithographer  ( 1 797-1858).  Called  the 
prince  of  lithographers.  Devoted  himself  mainly 
to  the  reproduction  of  paintings  by  other  artists, 
Prud'hon's  work,  we  are  told,  being  especially  well 
suited  to  his  style  and  the  velvety  softness  of  the 
lithographic  crayon. 

23  Sulmalla.      Nina.      Comhal.      Uthal 

(1821). 

After  Girodet-Trioson.     G.  Engelmann,  lith. 

24  The  Italian  pilgrim  (1838). 

"  Aubry  Lecomte,  del.  J.  P.  Quenot,  direx* 
Litho.  by  C.  Motte."  After  Bonnefond.  "Is  con- 
sidered one  of  the  most  finished  and  finest  pieces 
among  French  lithographs. " 

PROUT,  Samuel* 

English  landscape-painter  ( 1 783-1852).  Executed 
many  copies  for  instruction  in  drawing,  and  litho- 
graphic views  of  buildings  and  other  archaeological 
monuments. 

25  Part  of  the  church  at  Arque  (1821). 

Printed  by  C.  Hullmandel,  London. 

GRENIER,  Frangois. 

French  history  and  genre  painter  (1793-1867). 


28  CATALOGUE  OF 

26  Victories  and  conquests :  the  French 
descending  the  Nile  (1821). 

Litho.  by  C.  Motte. 

ISABEY,  Jean  Baptiste. 

French  painter  (i 767-1855).  One  of  the  earliest 
painters  to  practise  lithography.  His  crayon- work 
was  "very  vaporous  and  silvery." 

27  Stairway  of  the  great  tower  of  the 
Chateau  d'Harcourt  (1821). 

G.  Engelmann,  lith.  Interesting  on  account  of 
the  delicate  treatment  of  the  two  figures  (cavalier 
and  lady)  on  the  steps. 

EKEMAN-ALLESSON,  Lorenz. 

Swedish  lithographer,  (1791-1828).  Came  to  Sax- 
ony in  his  15th  year.  The  King  of  Wiirttemberg 
appointed  him  professor  and  director  of  the  newly 
established  lithographic  institute  at  Stuttgart.  He 
issued  several  books  used  as  copies  in  schools,  and 
executed  faithful  reproductions  of  the  works  of  others. 

28  Landscape  (1822). 

Marquard  Wocher,  inv.  Wood  interior,  with  five 
small  human  figures.  Careful  study  of  large  tree  in 
foreground.     Published  by  I.  Velten,  of  Carlsruhe. 

HARDING,  James  Duffield. 

English  landscape-painter  ( 1 798-1863).  Promoted 
lithography,  and  received  two  gold  medals  from  the 
Academie  des  Beaux-Arts  for  his  drawings  on  the 
stone.  An  artist  of  amazing  facility  and  dexterity. 
Published  "Sketches  at  Home  and  Abroad,"  1836 
("printed  with  two  stones  in  tints");  "The  Park 
and  the  Forest,"  1841  ("  a  set  of  beautiful  sketches 
drawn  on  the  stone  with  a  brush  instead  of  the  crayon, 
a  plan  he  devised,  and  to  which  he  gave  the  name  of 
'lithotint'." — "Dictionary  of  National  Biography," 
London,  1890,  vol.  xxiv,  p.  336),  etc. 


LITHOGRAPHY.  29 

29  Part  of  Greenwich  Hospital  from  the 
Ravensborne     (published     June     1, 

1822). 

Drawn  from  nature  and  on  stone  by  J.  D.  Har- 
ding; printed  by  C.  Hullmandel,  London. 

30  Church  of  St.  Sauveur  at  Caen  (pub- 
lished Aug.  i,  1829). 

After  R.  P.  Bonington. 

GliRICAULT,  Theodore* 

French  painter  (1 791- 1824),  one  of  the  masters  of 
the  "golden  age"  of  lithography,  whose  realistic 
tendencies  and  reaction  against  academic  art  are 
felt  in  his  works  on  the  stone  as  well  as  in  his  can- 
vases. Drew  a  noted  series  for  Hullmandel,  in 
London.  Two  thirds  of  his  eighty  lithographs,  we 
are  told,  are  studies  of  horses.  (See  Ch.  Clement's 
"  Gericault :  £tude  biographique  et  critique,  avec  le 
catalogue  raisonne"  de  Pceuvre  du  maitre."  3d 
edition.     Paris,  1879). 

31  Blacksmith  (about  1823). 

Gericault,  del.     Lith.  by  Villain.     Gihaut,  pub. 

LOWSTADT,  C  T. 

Swede. 

32  Portrait   of  E.   Swedenborg   (Stock- 
holm, 1823). 

HULLMANDEL,  Charles  Joseph. 

English  lithographer,  of  German  parentage  (1789- 
1850).  "In  1818,"  we  are  told  in  Bryan's  "  Dic- 
tionary of  Painters  and  Engravers"  (new  ed.,  1886), 
"he  commenced  his  experiments  in  lithography, 
.  .  .  and  made  many  great  improvements  in  the 
art.  To  him  are  due  a  graduated  tint,  and  the  use 
of  white  in  the  high  lights;  he  invented  lithotint 
(!  see  under  Harding,  J.  D.,  in  this  catalogue),  and 
he  used  the  stump  on  the  stone. " 


30  CATALOGUE  OF 

33  Plate  XI  in  his  "  Art  of  drawing  on 

stone"    (1824),    illustrating    "Some 
causes  of  failure." 

BONINGTON,  Richard  Parkes* 

English  painter  (1801-28).  Although  cut  off  in 
the  flower  of  his  youth,  he  left  some  sixty  lithographs 
of  the  first  rank  (see  A.  Bouvenne's  "  Catalogue 
de  l'ceuvre  grave"  et  lithographic  de  R.  P.  Boning- 
ton  "),  the  most  important  of  which  appeared  in 
Baron  Taylor's  "Voyages  pittoresques  en  France." 
These  exquisitely  delicate  delineations  of  architec- 
tural monuments,  to  quote  Beraldi,  are  marked  by 
"  such  picturesque  qualities  and  so  personal  a  color 
that  they  acquire  the  importance  and  interest  of 
veritable  original  compositions." 

34  Rue  du  gros  horloge,  Rouen  (1824). 

Lith.  by  G.  Engelmann.  Executed  for  Taylor's 
work.     "  Bonington's  chef-d'oeuvre." — Beraldi. 

35  Glenfinlas  (1826). 

Printed  by  Villain.  From  "  Vues  pittoresques  de 
l'Ecosse"  (1826). 

KRUGER,  Franz* 

Royal  Prussian  court-painter  (1 797-1857).  Made 
a  specialty  of  portraits  and  horses.  Known  as 
"  Pferde-Kruger,"  on  account  of  his  skill  in  depict- 
ing horses. 

36  Portrait  of  C.  F.  Schinkel  (1824). 

Lithographic  institute  of  L.  Sachse  &  Co.  Pub- 
lished by  Gropius  Brothers,  Berlin. 

37  Military  exercises  (not  dated). 
GOYA  Y  LUCIENTES,  Francisco  Jos*  de. 

Noted  Spanish  painter  (1 746-1828),  also  known  as 
a  satirist  and  caricaturist  of  very  remarkable,  though 


LITHOGRAPHY.  3 1 

eccentric,  genius.  See  "  Francisco  Goya :  etude  bio- 
graphique  et  critique,  suivie  de  l'essai  d'un  catalogue 
raisonne*  de  son  ceuvre  grave"  et  lithographic," by  Paul 
Lefort,  1877. 

38  Spanish  diversion  (1825). 

Gaulon,  lith.     Executed  at  Bordeaux. 

CHARLET,  Nicolas  Toussaint. 

Noted  French  delineator  of  military  subjects  (1792- 
1845).  There  is  much  glorification  of  Napoleon  in 
his  numerous  drawings,  and  he  excelled  in  depicting 
the  vie  intime  of  the  soldier,  as  also  in  illustrations  of 
child  life.  Col.  de  la  Combe  has  prepared  a  catalogue 
of  his  numerous  lithographs.  (See  "  Char  let  et  son 
ceuvre,"  by  A.  Dayot,  Paris,  1893.) 

39  They  are  the  children  of  France  (about 

1825). 

Lith.  by  Villain.  Pub.  by  Gihaut  Bros.,  Paris. 
Refers  to  the  children  of  General  Foy.  Inscription 
on  stone  in  background  reads :  "  Foy.  The  grateful 
fatherland  adopts  thy  children.     1825." 

DELACROIX,  Eug&ie* 

The  lithographic  work  of  this  famous  painter  ( 1 799- 
1863)  shows  indeed  "  what  vigor  and  color  the  lith- 
ographic crayon  can  acquire  in  the  hand  of  a  master." 
Granting  all  that  may  be  said  regarding  weakness  of 
drawing  and  conception  in  lithographs  like  the  "  Ham- 
let "  series,  for  instance,  yet  in  pieces  such  as  those 
exhibited  here  he  seems  to  have  well  nigh  exhausted 
the  resources  of  the  stone  in  the  vigorous  rendering 
of  shadow  and  color  suggestion. 


40  Macbeth  and  the  witches  (1825) 

Executed  almost  entirely  ' 
ground  of  crayon.     Lith.  by  < 

41  Lion  de  1' Atlas  (1829) 


Executed  almost  entirely  with  the  scraper  on  a 
ground  of  crayon.     Lith.  by  C.  Engelmann. 


32  CATALOGUE  OF 

42  Tigre  royal  (1829). 

Lith.  print  by  H.  Gaugain,  Paris,  2d  state.  "  Chefs 
d'ceuvre  in  drawing  and  in  color,  the  '  Lion  '  and  the 
*  Tiger'  are  numbered  among  the  most  celebrated  ex- 
amples of  lithography." — Beraldi. 

SUDRE,  Jean  Pierre* 

French  artist  (i  783-1866).  His  most  noted  lith- 
ographs are  those  reproducing  works  by  Ingres, 
which  would  naturally  appeal  to  one  of  his  classic 
grain. 

43  The  odalisque  (1826). 

After  Ingres.  Lith.  print,  by  Bove,  directed  by 
Noel  aine  &  Co. 

BOILLY,  Louis. 

French  painter  (1761-1845),  took  up  lithography 
when  over  fifty,  and  executed  a  considerable  number 
of  drawings  on  the  stone. 

44  Public  festival  (1826). 

This  curious  and  interesting  plate  depicts  the  de- 
grading effects  of  the  gratuitous  distribution  of  wine 
to  the  people,  on  the  occasion  of  the  King's  f£te. 

PEALE,  Rembrandt. 

American  portrait-painter  (1778-1860).  Paid  some 
attention  to  lithography.  Dunlap  quotes  Peale  thus 
(vol.  2,  p.  57) :  "I  was  among  the  first  of  the  artists 
who  employed  this  admirable  method  of  multiplying 
original  drawings.  My  first  attempt  in  New  York 
was  a  head  of  Lord  Byron,  and  a  female  head  from 
a  work  of  Titian.  In  1826  I  went  to  Boston  and 
devoted  myself  for  some  time  to  lithographic  studies, 
and  executed  a  number  of  portraits  and  other  sub- 
jects, and  finally  a  large  drawing  from  my  portrait  of 
Washington,  for  which  I  obtained  the  silver  medal 
from  the  Franklin  Institute  at  Philadelphia  in  1827. 
Unfortunately  the  workmen,  by  some  neglect,  de- 
stroyed this  drawing  on  the  stone  when  but  a  few 
impressions  were  taken." 


LITHOGRAPHY.  33 

45  Stephen    Girard,    with    facsimile    of 
letter  (1826). 

Lithograph  of  Pendleton. 

46  Washington  (copyright  secured  1827). 

"  Drawn  on  stone  by  Rembrandt  Peale.  Pendle- 
ton's lithography,  Boston.  From  the  original  por- 
trait painted  by  Rembrandt  Peale."  A  remarkably 
fine  piece  of  work.  Especially  noteworthy  for  its 
textures  and  the  delicate  treatment  of  the  face.  Rich, 
black  crayon  age  in  the  drapery  and  stone  work. 

CHENEY,  John. 

American  engraver  (1801-85).  Famous  for  his  ex- 
quisite line  engravings,  mainly  done  for  the  "Annuals  " 
so  popular  in  the  '30's.  See  S.  R.  Koehler's  "  Cata- 
logue of  the  engraved  and  lithographed  work  of  John 
Cheney  and  Seth  Wells  Cheney." 

47  Blennerhasset's  Island  (1828). 

From  "The  Memorial"  (Boston,  1828). 

48  Abbotsford  (1828). 

J.  Cheney,  del.  from  Dewint.     Pendleton,  litho. 

HESSE,  Henri  Joseph* 

French  painter  (1 780-1849).  Drew  portraits  and 
drawing-copies  on  the  stone.  "  His  lithographic 
portraits  belong  to  the  best  of  the  series  *  Galerie 
francaise.'" 

49  Portrait  of  Benj.  West  (1828). 

Lith.  print  by  Chabert. 

BICHEBOIS,  Louis  Pierre  Alphonse* 

French  lithographer  (born  in  the  year  IX,  in 
Paris).     Executed  many  plates  for  books  of  travel. 

50  Port  of  White  Hall,  Lake  Champlain 

(1828-29). 
5 


34  CATALOGUE  OF 

Figures  by  V.  Adam.  Bove's  lith.  printing  establish- 
ment, directed  by  Noel  aine"  &  Co.  A  plate  from 
"Itineraire  pittoresque  du  fleuve  Hudson,  et  des 
parties  laterales  de  l'Amerique  du  Nord,  d'apres  les 
dessins  originaux  pris  sur  les  lieux  par  J.  Milbert 
.  .  .  ,  et  lithographies  par  Adam,  Bichebois  [etc.]" 
(Paris,  1828-29),  2  vols.,  40— Atlas,  F°. 

ORLOWSKI,  Alexander. 

Russian  battle-painter,  of  Polish  birth  ( 1 780-1829, 
or  1 777-1832).  Came  early  to  St.  Petersburg,  and  in 
1812  was  already  court  painter  there. 

51  "Detachment  of  Cossacks  falling  on  a 
caravan  of  Tcherkesses  "  (St.  Peters- 
burg, 1829). 

COLIN,  Alexandre  Marie. 

French  painter  (1798-1875). 

52  Portrait  of  R.  P.  Bonington  (1829). 

London,  printed  by  Engelmann,  Graf,  Coindet  & 
Co.     With  facsimile  of  Bonington's  signature,  and 
the  suggestive  quotation : 
"  Too  like  the  lightning,  which  doth  cease  to  be, 
Ere  one  can  say  —  It  lightens! 

"  —  Shakespeare, ' ' 

GUDIN,  Theodore. 

French  marine  painter  (1802-80).  Very  popular 
during  the  reign  of  Louis  Philippe. 

53  Capt.  Aubert,  commander,  the  "  Jean 
Baptiste,"  of  Caen,  saving  the  crew 
of  the  American  brig  "  Lydia  "  (1829). 

T.  Gudin,  pinx!  et  lith. 

DEVfcRIA,  Achille. 

French  painter,  son-in-law  of  the  lithographic 
printer  Motte  (1800-57).  A  lithographer  of  the 
first  rank,  an  exceedingly  prolific   artist,  who  pro- 


LITHOGRAPHY.  35 

duced  much  commercial  work  not  worthy  of  his 
powers.  Excelled  in  portraiture,  and  delineated  the 
woman  of  the  elegant  world  with  virtuosity. 

54  Portrait  of  Victor  Hugo  (1829). 

Lithographed  by  C.  Motte. 

GREVEDON,  Henri. 

French  portrait-painter  and  lithographer  (1776— 
i860).  Soon  devoted  himself  entirely  to  lithography, 
being  "  accredited  and  official  lithographer  "  during 
1825-45.  His  very  numerous  portraits,  especially 
those  of  women,  are  careful  in  execution,  and  are  in- 
teresting artistically  and  as  records  of  the  costumes 
of  the  time. 

55  Mme.    Grevedon,    of    the    Gj«jinase 
Dramatique  (1830). 

Lithographed  by  Bichebois  ain£,  Paris. 

DECAMPS,  Alexandre  Gabriel* 

Famous  French  painter  (1803-60).  Executed 
about  100  lithographs  (see  Adolph  Moreau's  cata- 
logue, "  Decamps  et  son  ceuvre,"  Paris,  1879),  many 
of  them  masterpieces.  He  drew  exceptional  sug- 
gestions of  color  from  the  stone,  as  in  the  following 
piece,  specially  referred  to  by  Beraldi  : 

56  Children  frightened  by  a  watch-dog 
(from  "Sujets  de  chasse,"  1830). 

Lith.  and  pub.  by  Gihaut  Bros. 

57  Fox-hunter  (about  1830). 

Lith.  and  pub.  by  Gihaut  Bros. 

ROBERT,  Uopold. 

French  painter  (1 794-1835). 

58  The  shepherd's  repose  (1831). 

Lith.  by  Gr£goire  &  D£neux,  pub.  by  Gihaut  Bros. 


36  CATALOGUE  OF 

BELLANGli,  Hippolyte* 

Noted  French  military  painter  (1800-66).  Most 
of  his  nearly  500  lithographs  (catalogued  by  Jules 
Adeline,  in  his  "  Hippolyte  Bellange  et  son  ceuvre," 
Paris,  1880)  were  executed  during  the  years  1823- 
34.  He  is  often  named  with  Raffet  and  Charlet,  but 
though  his  subjects  were  similar  to  theirs,  the  nature 
of  his  work  was  different ;  furthermore,  these  two 
others,  especially  Raffet,  were  practically  lithograph- 
ers, while  Bellange"  was  primarily  a  painter. 

59  Troops  on  the  march  (1832). 

Lith.  and  pub.  by  Gihaut  Bros.  From  his  "Al- 
bum lithographique  "  for  1833. 

PENDLETON'S  LITHOGRAPHY,  Bos- 
ton* 

(  View  of  the  ear  of  Dionysius. 

60  <  Scenery   of  Mount    /Etna   (Boston, 
(  1831). 

Two  plates  from  A.  Bigelow's  "  Travels  in  Malta 
and  Sicily." 

ENDICOTT. 

61  Portrait  of  Thomas   DeWitt,  D.  D. 

(183-). 

"  Waldo  and  Jewett,  pinxt.  Litho.  of  Endicott, 
359  Broadway,"  New  York.  Wm.  Dunlap,  in  his 
"  History  of  the  .  .  .  Arts  of  Design"  (1834),  vol. 
2,  p.  454,  says:  "John  Crawley,  jr.,  ...  is  engaged 
at  Endicott's  and  wSwett's  establishment,  and  I  have 
seen  some  beautiful  specimens  of  this  mode  of  draw- 
ing by  him."  Possibly  the  present  portrait  is  one 
of  Crawley's  productions. 

NOEL,  L€on, 

French  artist  (1807-79).  Devoted  himself  to 
lithography,  executing  over  1000  pieces,  over  half  of 


LITHOGRAPHY.  37 

them  portraits.  The  latter  are  of  interest  mainly  as 
pictorial  documents,  for  he  soon  grew  conventional 
in  style. 

62  Mile.  Juliette  (1832). 

Lithographed  from  nature  by  L6on  Noel.  Lith. 
by  Kaeppelin  &  Co.  A  penciled  note  states  that  the 
subject  is  Mme.  Drouet,  mistress  of  Victor  Hugo. 
Appeared  in  "L' Artiste." 

NEWSAM,  Albert. 

American  lithographer  (1809-64),  deaf-mute.  In 
1827  was  placed  with  Cephas  G.  Childs,  engraver,  and 
partner  of  Henry  Inman  in  the  lithographic  business ; 
subsequently,  for  many  years,  chief  artist  in  the  es- 
tablishment of  P.  S.  Duval,  Philadelphia.  Executed 
numerous  likenesses  of  eminent  personages,  as  well 
as  many  contributions  to  Catlin's  "Indian  portrait 
gallery,"  and  was  "  a  most  excellent  draughtsman  of 
the  head."  His  name  is  indelibly  associated  with  the 
rise  and  progress  of  the  art  in  America.  See  J".  O. 
Pyatt's  "  Memoir  of  Albert  Newsam  "  (Phila.,  1868). 

63  Portrait  of  W.  Rawle  (1832). 

"Painted  by  H.  Inman.  A.  Newson  \sicf\9  del. 
Childs  and  Inman,  lith","  Phila.  One  of  his  most 
important  works.  A  vigorous  drawing,  freely  handled. 

64  Portrait  ofWm.  C.  Preston  (1833?). 

"  Painted  by  S.  S.  Osgood.  A.  Newsam,  del. 
Childs  and  Lehman  [sic/],  lith™,"  Phila.  Cephas 
G.  Childs  (1 793-1871)  during  1831-35  conducted  a 
lithographic  establishment  in  partnership  with  Henry 
Inman  the  portrait-painter. 

65  Rt.  Rev'd.  William  White,  D.D.  (1843). 

Published  in  the  annual  report  for  1843  of  the 
Pennsylvania  Institution  for  the  Deaf  and  Dumb.  A 
portrait  of  the  first  president  drawn  by  Newsam,  "late 
pupil  of  the  institution."  Duval,  lith.  The  bishop  saw 


38  CATALOGUE  OF 

Newsam  when  1 1  years  old  making  chalk  sketches 
in  the  street,  and  took  him  to  the  newly  opened  in- 
stitution. 

RAFFET,  Auguste* 

One  of  the  greatest,  if  not  the  greatest,  of  lithog- 
raphers (1804-60),  whose  real  worth  has  been  fully 
appreciated  only  in  recent  years.  His  lithographs 
form  a  pictorial  history  and  "  an  imperishable  monu- 
ment in  glorification  of  Napoleon  and  the  French 
army."  The  tattered  and  poorly  fed  soldier  of  the 
republic,  the  tier  cely-mustached  grog  nard  of  the  em- 
pire, the  militaire  of  a  later  date, —  of  Constantine,  of 
Sebastopol, —  all  were  delineated  by  him  with  a  truth- 
ful touch  as  individuals  and  in  masses,  large  bodies 
of  men  being  handled  with  a  remarkable  combination 
of  detail  and  breadth.  Nay,  he  has  even  permitted 
his  fancy  to  carry  him  into  the  unseen  world  in  his 
depiction  of  the  "  Nocturnal  Review  "  of  the  phantom 
of  the  Grande  Armee  by  its  "Little  Corporal." 
"  Raffet,"  says  Beraldi,  "  revolutionized  the  painting 
of  battles."  He  continues,  "  Armies  have  a  soul: 
Raffet  saw  this  and  expressed  it."  He  was  an  hon- 
est, earnest  worker,  with  talent  of  a  very  high  order, 
and  posterity  has  honored  him, —  as  it  had  Senefelder 
—  by  the  erection  of  a  monument  (in  Paris).  See 
H.  Giacomelli's  "  Raffet :  son  ceuvre  lithographique 
et  ses  eaux-fortes  "  (Paris,  1862) ;  and  A.  Bry's  "  Raf- 
fet, sa  vie  et  ses  ceuvres"  (Paris,  1861;  2d  ed.,  1864). 

66  Polish  infantry  marching  against  the 
enemy,  1813  (1832). 

Lith.  and  pub.  by  Gihaut  Bros. 

67  The  nocturnal  review  (from  "Album  " 
for  1837). 

68  Battle  of  Oued-Alleg  (1840). 
MADOU,  Jean  Baptists 

Belgian  painter  ( 1 796-1877).  Originally  a  lithog- 
rapher, and  during  1821-40  issued  a  number  of  col- 


LITHOGRAPHY.  39 

lective  works,  such  as  "  Picturesque  Views  in  Bel- 
gium," "  Scenes  de  la  vie  des  peintres  de  l'£cole  fla- 
mande  et  hollandaise  "  (1840),  etc. 

69  The  old  beaux  (about  1833). 

Printed  by  Benard. 

MAURIN,  Nicolas  Eustache. 

French  painter  and  lithographer  (1798  or '99-1850). 
Mainly  occupied  with  lithography.  Specialty  :  por- 
traits. 

70  Portrait  of  Giacomo  Meyerbeer  (about 
1833), 

Drawn  from  nature  by  Maurin.    Lith.  by  Delpech. 

ISABEY,  Eug&ie. 

Noted  French  painter  (1804-86).  One  of  the 
masters  of  lithography,  whose  marines  are  especially 
noteworthy.  "  If  Bonington  had  not  made  his  Gros 
Horloge,"  says  Beraldi,  "  Isabey  would  be  a  lithog- 
rapher without  a  rival.' '  The  exuberant  bravura  col- 
oring of  his  paintings  is  echoed  in  the  rich  tones  of 
his  lithographs. 

71  Environs  de  Dieppe  (1833). 

Printed  by  C.  Motte. 

72  Mar6e  basse  (1833). 

Printed  by  C.  Motte. 

VEITH. 

Joh.  Philipp  Veith  ( 1 769-1835),  Nagler  tells  us, 
"  had  three  sons  .  .  .  devoted  to  art.  One  .  .  .  lived 
[in  Vienna]  as  lithographer."  Possibly  the  present 
artist  is  the  one  referred  to. 

73  Portrait  of  Edward  of  Paris,  born  1819, 
died  1833.    (1834?). 


40  CATALOGUE  OF 

DAUMIER,  Honors 

French  caricaturist  (1808-79).  An  artist  of  un- 
doubted power,  whom  the  somewhat  extravagant 
praise  of  his  enthusiastic  French  admirers  has  com- 
pared to  the  greatest  painters  of  all  time.  His 
thousands  of  drawings  on  the  stone  will  surely  trans- 
mit his  fame  with  that  of  Gavarni  and  the  others  in  his 
own  line.  See  Arsene  Alexandre's  "  Honore  Dau- 
mier,  l'homme  et  l'ceuvre  "  (Paris,  1888). 

74  "  Le  ventre  l£gislatif :  aspect  des 
bancs  minist£riels  de  la  Chambre 
improstitu^e  de  1834"  (1834). 

Eighteenth  drawing  of  the  "  Association  Men- 
suelle"  (month  of  January).  At  Aubert's.  Lith. 
by  Becquet.  "It  has  been  attempted  to  describe 
minutely  this  admirable  chef  d'ceuvre,  .  .  .  but 
.  .  .  that  tells  us  nothing.  The  piece  must  be 
seen. ' ' — Beraldi. 

75  "  Enfonc6  Lafayette  !  .  .  .  attrape\ 
mon  vieux"  (1834). 

At  Aubert's.  Lith.  by  Delaunois.  Twenty-first 
drawing  of  the  "  Lithographic  mensuelle  "  (month  of 
May).  In  the  foreground,  Louis  Philippe, in  mourn- 
ing, is  dissimulating  his  joy.  In  the  background, 
the  hearse  of  Lafayette,  and,  on  the  right,  a  view 
of  Per e  Lachaise.     "Chef-d'ceuvre." — Beraldi. 

HANFSTAENGL,  Franz  von. 

Bavarian  lithographer  of  note  (1804-77).  Entered 
Mitterer's  lithographic  institute  in  Munich ;  in  1834 
opened  a  lithographic  atelier  (which  soon  flourished, 
and  published  many  portraits  by  himself).  During 
1835-52  was  engaged  on  reproductions  of  master- 
pieces in  the  Dresden  gallery.  In  1853  turned  his 
attention  to  photography. 

Portrait  of  Senefelder  (1834). 

(See  under  Senefelder,  No.  3.) 


LITHOGRAPHY.  41 

76  Portrait  (1834?). 

Military  man,  facing  toward  the  left ;  cloak  pass- 
ing over  right  arm  and  shoulder  and  under  left  arm. 
Proof  before  all  letters.     Careful  execution. 

77  Gerard     Dow's     "Writing     Master" 

(1836). 

Printed  under  the  direction  of,  and  published  by, 
F.  Hanfstaengl.  From  the  "Dresden  Gallery " 
series.  A  characteristic  and  delicate  example  of  the 
best  German  lithographic  reproductive  work  of  the 
time. 

DUPR6,  Jules. 

Famous  French  landscape-painter  (1811-89).  Ex- 
ecuted seven  interesting  lithographs  for  the  earlier 
volumes  of"  L' Artiste." 

78  Banks      of     the     Somme,     Picardy 

(1835?). 

From  "  L' Artiste."     Lith.  by  Benard  and  Frey. 

RUDE,  Ft  angois* 

French  sculptor  (1784-1855). 

79  Neapolitan  fisherman  (1835). 

Signed  Rude.  "  Lith.  by  C.  Motte."  Beraldi  says 
of  this  piece :  "  The  little  lithographic  reproduction 
of  the  '  Neapolitan  fisherman,'  published  by  '  L'Ar- 
tiste '  in  1835,  has  been  attributed  to  him.  As  this 
lithograph  is  most  delicately  crayoned,  it  was  con- 
cluded that  Rude,  at  the  first  effort,  attained  a  better 
grain  than  all  the  professional  lithographers.  It 
would  be  amusing  if,  after  such  eulogies,  it  were 
simply  from  the  hand  of  Alophe." 

HUET,  PauL 

French  landscape-painter  (1804-69).  Like  De- 
camps and  others,  he  drew  exceptional  effects  from 
that  rich  gamut  of  tones  that  lies  between  the  white 

6 


42  CATALOGUE  OF 

of  the  paper  and  the  deep,  velvety  black  of  the  crayon. 
In  such  work,  fairly  palpitating  with  strong  feeling 
for  color,  one  hardly  recognizes  the  gray  crayonage 
of  the  earliest  lithographs.  "The  twelve  pieces  of 
his  album  of  landscapes  (1829)  are  so  many  little 
chefs-d'oeuvre,"  says  Beraldi. 

80  Landscape  (about  1836?). 

No  lettering.     No  signature.     No  date. 

MENZEL,  Adolph. 

Noted  German  painter  (b.  1815).  The  master 
of  lithography  in  Germany.  Richard  Graul  avows 
that  his  memorable  efforts  on  the  stone  (1851)  "  not 
only  indicate  the  highest  degree  of  artistic  power  of 
expression  in  a  thoroughly  peculiar  art-language,  but 
have  also  remained  unsurpassed  even  in  these  days 
of  more  extended  technical  ability  in  lithography." 

81  Frederick  William,  the  great  elector, 
receives  the  oath  of  fealty  of  the  Prus- 
sian "  Landstande,"  at  Konigsberg, 
Oct.  18,  1663  (1836). 

Printed  by  the  Lith.  Institute  of  L.  Sachse  &  Co., 
through  Berndt.  A  plate  from  the  "  Denkwiirdig- 
keiten  aus  der  brandenburgisch-preussischen  Ge- 
schichte  in  16  Blattern,  componirt  und  lithographirt 
von  A.  Menzel,"  published  by  L.  Sachse  &  Co.,  Ber- 
lin, of  which  only  12  plates  were  issued.  This  work, 
in  its  faithful  and  uncompromising  realism,  seems 
akin  to  the  productions  of  some  of  the  old  German 
masters.  Executed  with  the  crayon,  and  an  occasional 
touch  of  the  scraper.  Menzel's  first  series  of  litho- 
graphs, executed  with  the  pen  ("  Kiinstlers  Erden- 
wallen,"  1834),  the  "  Denkwiirdigkeiten,"  and  the 
publication  from  which  the  following  plate  is  taken, 
form  a  continuous  illustration  of  the  development  of 
an  artist  of  great  power  in  this  special  field. 

82  A  plate  from  "  Versuche  auf  Stein  mit 
Pinsel  und  Schabeisen  "  (Berlin,  1851). 

Published  by  Rocca  Bros.,  printed  by  J.  Hesse, 
Berlin.  A  veritable  virtuoso-production.  Done  with 
brush  and  scraper. 


LITHOGRAPHY.  43 

83  The  boy  Christ  in  the  Temple  (1852). 

Brushed  and  scraped  on  the  stone  by  A.  Menzel. 
Printed  by  J.  Hesse,  Berlin.  A  lithograph  of  the 
highest  interest,  and  an  excellent  piece  of  character- 
drawing. 

ACHENBACH,  Oswald. 

German  landscape-painter  (b.  1827).  Still  living 
in  Diisseldorf. 

84  An  Italian  autumn  evening  (1836). 

Painted  and  drawn  on  stone  by  Osw.  Achenbach. 
Published  by  the  Lith.  Institute  of  Arnz  &  Co.,  Diis- 
seldorf.    Tinted.    , 

DAVID,  Jules. 

French  painter,  illustrator,  and  lithographer.  His 
style  is  marked  by  a  certain  conventional  prettiness. 
"  Nothing  special  to  say  of  him ;  his  work  is  a  dimin- 
utive species  of  that  of  Victor  Adam." — Beraldi. 

85  Economy  (12th  year) :  "  Now,  Mama, 
when  I  have  six  francs,  will  you  take 
them  to  the  savings  bank  ?"  (1836.) 

Printed  by  Lemercier,  published  by  Jeannin,  Paris. 
The  border  by  Danjoy.  From  "  Good  and  Bad  Con- 
duct," an  album  moral  which  won  the  first  prize  of 
2000  francs,  proposed  by  Benjamin  Delessert,  presi- 
dent of  the  Savings  Bank  of  France. 

HARDING,  George  Perfect. 

English  portrait-painter  (d.  1853).  Occupied  mainly 
in  making  water-color  copies  of  historical  portraits, 
and  furnishing  designs  for  various  historical  and  anti- 
quarian publications. 

86  William  Upcott,  Islington,  March  27 

(1837). 

Portrait  of  a  noted  book-lover.  "  G.  P.  Harding 
ad  vivum  del.  et  fecit."  Day  &  Haghe,  lith"  to  the 
King.  Pubd.  April,  1837,  by  G.  P.  Harding, 
Lambeth. 


44  CATALOGUE  OF 

BAUGNIET,  Charles. 

Belgian  artist  (1814 — ?).  Lithographed  several 
hundred  portraits  of  prominent  people.  Worked  for 
25  years  in  England;  then  settled  in  Paris  and  devoted 
himself  to  painting  society  pictures  well  known  in  this 
country. 

87  Portrait    of   Paul    Delaroche    (Paris, 

1837). 

Three-quarter  length.  A  white  canvas  on  an  easel 
back  of  the  figure  throws  the  head  into  relief. 

GAVARNI. 

Pseudonym  of  the  French  illustrator  and  carica- 
turist, Guillaume  Sulpice  Chevallier  (1804-66),  who 
signed  his  earlier  work  Hippolyte  Chevalier.  Dur- 
ing 1830-38  he  drew  fashion-plates,  titles,  "  album- 
subjects,"  and  the  like, — very  elegant  and  graceful. 
Found  his  true  vocation  in  pictorial  satire,  but  also  il- 
lustrated much.  Handled  the  lithographic  crayon  with 
a  sketchy  verve,  a  brilliancy  that  gives  to  his  work 
on  the  stone  a  place  among  the  products  of  the  great 
masters  of  the  art,  Beraldi  places  the  number 
of  his  original  lithographs  at  2700.  See  "  Gavarni : 
Phomme  et  l'ceuvre,"  by  E.  and  J.  de  Goncourt 
(Paris,  1873). 

88  Much  shall  be  forgiven  her,  for  she 
has  danced  much  (1838  ?). 

Printed  by  Bertauts,  Paris. 

89  Masked  ball  (1839  ?)• 

90  Edmond  and  Jules  de  Goncourt 
("  Masques  et  Visages:  Messieurs  du 
Feuilleton ; "  1.     1852  or  '53  ?). 

ADAM,  Victor, 

French  painter  of  historical  subjects  and  land- 
scapes  (1801-65   or   '67).      As   a  lithographer,  he 


LITHOGRAPHY.  45 

evinced  an  astonishing  fecundity  and  facility.  His 
work  consists  mainly  of  popular  historical  pictures, 
studies  of  animals,  intended  for  drawing-copies,  and 
the  like. 

91  Departure  from  Fontainebleau  (about 

1838). 

Lithographed  by  C.  Motte. 

BODMER,  Karl. 

Swiss  painter  and  etcher  (1809-94).  Traveled  in 
North  America  in  1832-34  with  Alexander  Maxi- 
milian, Prince  of  Neuwied,  whom  he  accompanied 
as  draftsman.  Pictured  the  forest  and  its  inhabit- 
ants in  masterly  variations.  Made  four  large  litho- 
graphs of  adventures  among  the  Indians,  for  which 
his  friend  and  neighbor  at  Barbizon,  J.  F.  Millet,  in- 
troduced the  figures ;  he  produced  many  lithographs, 
and  numerous  etchings  on  copper  and  by  the 
"  Comte  "  process. 

92  Deer  on  the  prairie,  evening  (about 

1838). 

No  lettering. 

93  'Wood-interior;      small     figures      of 

hunter  and   dog.      Deer  in   middle 
distance  (about  1838). 

No  lettering.     Both  done  with  crayon  and  scraper. 

LEMUD,  Aimi  de- 
French  lithographer  (1816-86).  Not  very  pro- 
lific; his  lithographs  number  but  22.  "The  painter- 
like qualities  in  his  lithographs,  the  subjects  chosen, 
the  romantic  spirit  pervading  them,  made  them  cal- 
culated to  please  both  artists  and  public. "  See  "  Cata- 
logue de  l'ceuvre  lithographic  et  grave*  de  A.  de 
Lemud,"  by  A.  Bouvenne  (Paris,  1881). 


46  CATALOGUE  OF 

94  Master  Wolfframb  (1838). 

Printed  by  Lemercier,  Benard  &  Co.  "  Aime*  de 
Lemud  .  .  .  attained  a  certain  celebrity  in  a  single 
day,  with  a  single  lithograph.  Adjectives  fail  with 
which  to  qualify  the  success  of  '  Master  Wolfframb,' 
a  success  which  will  remain  famous  in  the  annals 
of  prints;  it  was  instantaneous,  enormous,  prodi- 
gious."— Beraldi>  ix  :  1 19.  This,  like  the  following, 
is  executed  with  the  crayon,  the  scraper  being  freely 
used. 

95  The  return  to  France  (1841). 

u  De  Lemude  {sic  /  )  del*  "  Printed  by  Lemer- 
cier, Benard  &  Co.  The  coffin  of  the  emperor,  borne 
by  soldiers,  and  surrounded  by  specters  of  the 
Grande  Arme'e,is  greeted  by  the  enthusiastic  people. 
"  This  superb  composition,  Lemud's  masterpiece." 
— Beraldi,  ix :  125. 

KREINS,  Hilaire  Antoine* 

Flemish  landscape-painter  and  designer  (1806-62). 
Engraver ;  executed  some  lithographs. 

96  Flemish  wedding  in  the  17th  Century 

(184-?). 

After  painting  by  Henri  Leys. 

FENDERICH,  Charles. 

American  (?).  Executed  a  number  of  portraits  in 
the  U.  S.  in  1841. 

97  Portrait  of  John  Tyler,  President  of 
the  U.  S.  (1841). 

From  life  on  stone.  Pub.  by  Chas.  Fendench, 
Washington  City,  D.  C.  P.  S.  Duval's  Lith.  Press, 
Phila.     Crayon. 


LITHOGRAPHY.  47 

PETTENKOFER,  August. 

Austrian  painter  (1821-93  or  '94).  First  worked 
as  a  designer  and  lithographer. 

98  The  news  (about  1843  ?). 

After  a  water -color  by  C.  Schindler.  Lith.  by  A. 
Pettenkoffer  \sic /~\,  Pub.  by  Aloys  Leykum,  Imp.- 
Roy.  Court  lithographer.  Crayon ;  scraper  used  to 
produce  effect  of  white  chalk  once  so  much  in  vogue. 
Printed  in  one  tint. 

VERBOECKHOVEN,  Eugene. 

Belgian  animal  painter  (1799-1881).  In  addition 
to  his  numerous  paintings,  once  so  popular  in  the 
States,  he  did  many  etchings  and  lithographs. 

99  Three  dogs  beside  a  stone  wall  (1844). 

Drawn  on  stone  after  nature  by  Verboeckhoven. 
Printed  and  published  by  Aubert  &  Co.,  Paris. 
Printed  in  one  tint.  Numbered  "  9  "  in  lower  margin, 
center  (evidently  one  of  a  series). 

CALAME,  Alexander* 

Celebrated  Swiss  painter  (1810-64),  "whose  lith- 
ographed modeles  of  landscape  long  ruled  supreme." 

100  Oaks  (London,  published  1st  January 
1844,  by  the  Anaglyphic  Co.). 

Lith. -print  of  Cattier,  Paris.     Tinted. 

101  Landscape  (1850?). 
LLANTA,  Jacques  Francois  Gauderique* 

1807-60.  Lithographed  religious  subjects  and 
portraits. 

102  Portrait  of  Baron  Desnoyers  (1845), 

After  fidouard  Dubufe. 


48  CATALOGUE  OF 

EICHENS,  Philipp  Hermann* 

German  painter  (b.  1812).  Worked  mostly  in 
Paris.  Important  in  commercial  engraving;  much 
employed  by  Goupil.  In  1842  he  was  awarded  a 
third  medal  for  lithography,  in  which  medium  he  ex- 
ecuted numerous  portraits  in  Germany. 

103  Portrait  of  himself  (1846). 

Printed  by  L.  Sachse  &  Co.,  Berlin. 

KRIEHUBER,  Joseph. 

Austrian  painter  and  lithographer  (1800-76).  His 
lithographs,  mostly  portraits,  are  very  numerous,  and 
rank  with  the  best  German  work.  He  and  Petten- 
kofer  were  the  masters  of  original  lithography  in 
Austria. 

104  A  morning  with  Liszt  (1846). 

Portraits  of  Kriehuber,  Berlioz,  Czerny,  Liszt,  and 
Ernst. 

105  Portrait  of  the  artist  Kriehuber  (i860). 

Drawn  on  the  stone  by  himself.  Printed  by  Joh. 
Haller.  This  proof  he  presented  to  N.  Sarony,  with 
the  signed  inscription :  "  The  artist  to  the  artist : 
souvenir.' ' 

JACQUE,  Charles. 

Noted  French  painter  and  etcher  (1813-94),  cele- 
brated in  France  and  America  for  his  artistic  render- 
ing of  animal  and  landscape  subjects  as  also  for  his 
hundreds  of  fine  etchings.  See  "  L'ceuvre  de  Ch. 
Jacque:  Catalogue  de  ses  eaux-fortes  et  pointes- 
seches,"  par  J.  J.  Guiffrey  (Paris,  1866). 

106  The  fisherman,  rainy  weather 

(1847?). 

"Souvenirs  d'artistes,"  No.  53.  Printed  by  Ber- 
tauts,  Paris. 


LITHOGRAPHY.  49 

107  Cattle  being  led  to  the  watering-place 
(1848  ?). 

Proof  before  letters. 

JULEN. 

French  lithographer  (b.  1802?).  Executed  prin- 
cipally portraits  and  drawing-school  copies,  long  ac- 
cepted as  models. 

108  Portrait  of  B6ranger  (about  1848  ?). 

"  Galerie  du  Voleur,"  No.  54.  Printed  by  Aubert 
&Co. 

COLE,  Thomas* 

American  painter  (1801-48). 

109  The  Good  Shepherd  (1848). 

Drawn  on  stone  by  the  late  Thos.  Cole.  "  To  the 
artists  of  America  this  print  is  respectfully  dedicated 
by  Maria  Cole.  1842."  Published  by  John  P.  Rid- 
ner,  497  Broadway.     Copyrighted  1849. 

GALLAIT,  Louis* 

Belgian  painter  (1810-87).  Quite  famous  for  his 
paintings  of  historic  subjects. 

110  Family  of  fisherfolk  at  Blankenbergh 

(1848). 

"  Gallait,  peint  et  lith."  Lith.  by  Simonau  &  Too- 
vey. 

CHAPLIN,  Charles* 

French  painter  (1825-91),  well-known  by  his  ele- 
gant delineations  of  women,  and  salon  decorations. 
The  lithographs  here  exhibited  illustrate  a  phase  of 
his  art  not  familiar  to  many. 

7 


50  CATALOGUE  OF 

111  Study    of    a    young    woman,    nude 

(1849). 

After  "  Milet "  (J.  F.  Millet).  Bertauts,  printer. 
Autograph  signature  of  Chaplin. 

112  Herdsmen  of  C^vennes  (1850  ?). 

"Ch.  Chaplin,  pinx.  et  lith."  Printer,  Bertauts, 
Paris.     From  "  L' Artiste."    Salon  of  1850. 

AVIGNON,  f.  d\ 

French  ( Franco- American  ?)  artist,  engaged  by 
Brady  to  touch  up  photographs ;  was  associated  with 
him  for  a  number  of  years. 

113  Portrait  of  W.  H.  Prescott  (1850). 

F.  D'Avignon,  lith.  from  dag.  by  Brady.  D'Avig- 
non's  Press,  323  Broadway.  A  plate  from  the  "  Gal- 
lery of  Illustrious  Americans  "  (N.  Y.,  1850).  Copy- 
righted by  Brady,  D'Avignon  &  Co. 

114  Portrait  of  Ralph  Izard. 

Proof.     No  date. 

BARYE,  Antoine  Louis* 

Celebrated  French  sculptor  (1 795-1875),  executed 
some  lithographs.  His  bronzes  are  as  well  known 
and  appreciated  here  as  in  his  own  land. 

115  Study  of  a  tiger  (1850). 

Barry e  [j*V/].  Lith.  by  Delaunois.  "L' Artiste," 
1850. 

116  Bear  of  the  Mississippi  (1850?). 

Printed  by  Benard. 

MOUILLERON,  Adolphe. 

French  professional  lithographer  of  note  (1820-81). 
Especially  successful  in  his  reproductions  of  paintings 


LITHOGRAPHY.  5 1 

by  others.  "His  lithographs,"  says  Beraldi,  "are 
executed  with  such  brilliant  resources  that  they  have 
the  flavor  of  original  pieces." 

117  Andr6  V6sale  (1851  ?). 

After  a  painting  by  E.  Hamman.  Printed  by  Ber- 
tauts,  Paris. 

MILLET,  Jean  Frangois. 

French  painter  of  note  (1814-75),  has  left  three  or 
four  lithographs.  See  Alfred  Lebrun's  "  Catalogue  of 
the  Etchings,  Heliographs,  Lithographs,  and  Wood- 
cuts done  by  T.  F.  Millet;  translated  by  F.  Keppel " 
(N.  Y.,  1887). 

118  The  sower  (1851). 

Done  for  "L' Artiste,"  but  not  published.  One 
proof  taken  in  1851.  The  stone  was  mislaid,  and  the 
impressions  taken  in  1879  show  it  to  be  much  dam- 
aged. 

BID  A,  Alexandre* 

French  painter  in  water-colors,  and  illustrator  ( 1 820- 
1894).  Best  known  by  his  many  designs  (etched  by 
others)  for  the  Bible. 

119  A  muezzin  (1851). 

A  plate  from  Bida's  "  L'Orient  pittoresque." 

DOR£,  Gustave. 

Famous  French  illustrator,  painter,  and  sculptor 
(1832-83),  made  his  debut  as  a  caricaturist  and  lithog- 
rapher. The  characteristic  qualities  of  this  genius 
are  practically  the  same  in  all  his  work,  whatever  the 
medium — a  Gallic  verve,  ardent  imagination,  fantastic 
-    invention,  and  astonishing  facility  and  productiveness. 

120  A  carnival  scene  (1852  ?). 

A  plate  from  the  "  Folies-Gauloises  ?  " 


52  CATALOGUE  OF 

DEKKER,  H.  A.  C 

Dutch  artist. 

121  Poetry  (1853). 

After  Jos.  Israels.  Lith.  print  by  J.  D.  Steuer- 
wald,  Amsterdam. 

SOULANGE-TEISSIER,  Louis  Emmanuel 

French  reproductive  lithographer  of  great  repute 
(b.  1814).  "  Has  been  principally  the  interpreter  of 
Rosa  Bonheur." 

122  The  charcoal-burners  (pub.  1st  Oct., 

1854). 

After  Rosa  Bonheur.  Print  by  Lemercier.  Crayon ; 
scraper  used,  giving  the  familiar  chalky  effect. 

HERVTER,  Adolphe. 

French  landscape-painter  and  etcher  (1821-79). 
Pupil  of  Eug.  Isabey,  by  whom  he  was  influenced. 
His  lithographs  in  crayon  or  wash  are  not  without 
interest. 

123  Old  woman  and  pig  (1854). 

Printed  by  A*  Bry,  Paris.  Lettered  "  Hervier  4  " ; 
probably  a  plate  from  his  album,  "  Lithographies  ar- 
tistiques."     Crayon-drawing. 

BRESDIN,  Rodolphe- 

French  artist  (1822-85),  known  as  "  Chien-Cail- 
lou."  Said  to  have  been  very  poor.  Described  by 
Champfleury,  in  "  Chien-Caillou.,,  Catalogue  of  his 
work  by  A.  Bouvenne.     Work  mostly  etched. 

124  The  comedy  of.death  (1854). 

Drawn  with  the  pen.  Printed  by  Lemercier, 
Paris.  Autograph  signature.  The  artist  revels  in  a 
maze  of  grotesque  and  fanciful  details,  a  medley  of 
strange  beings  and  forms  that  seems  ludicrous  rather 
than  horrible,  the  product  of  a  somewhat  diseased 
imagination. 


LITHOGRAPHY.  53 

125  The  good  Samaritan. 

His  most  important  production.  Pen-drawing. 
Printed  by  Lemercier,  Paris. 

NANTEUIL,  Celestin. 

French  painter  (1813-73), "  the  romantic  illustrator 
par  excellence"  a  "lithographer  of  the  first  rank." 
Executed  numerous  original  and  reproductive  litho- 
graphs for  "L' Artiste,"  Bertauts's  publications,  etc. 
See  Ph.  Burty's  "L'Age  du  romantisme:  Celestin 
Nanteuil,  graveur  et  peintre  "  (Paris,  1887). 

126  Cupids  guarding  the  door  (1855). 

Printed  by  Bertauts. 

ACHENBACH,  Andreas. 

German  landscape  and  marine  painter  (b.  1815). 
Brother  of  Oswald,  and  still  living  at  Dusseldorf. 

127  Coast  of  Capri  (1855). 

Painted  and  drawn  on  stone  by  Achenbach.  Pub- 
lished by  the  Lithographic  Institute  of  Arnz  &  Co., 
Dusseldorf.     Pen-drawing. 

ROPS,  Felicien. 

Belgian  illustrator,  lithographer,  etcher  (b.  about 
1835  ?).  An  artist  of  raffinement,  with  a  peculiar  im- 
agination ;  known  to  many  mainly  by  his  sujets  libres. 
Executed  some  noteworthy  lithographs,  especially 
the '•  Burial  in  the  Walloon  Country."  "As  soon 
as  he  became  master  of  the  lithograph  process," 
says  Beraldi,  regretfully, "  he  entirely  abandoned  it." 
Erasthene  Ramiro  (pseudonym  of  Eugene  Rodri- 
gues)  has  prepared  a  u  Catalogue  descriptif  des  lith- 
ographies de  Felicien  Rops  "  (Paris,  1891). 

128  To  our  subscribers  (about  1856). 

A  New  Year  cartoon  from  the  journal "  Uylen- 
spiegel"  (founded  by  Rops  in  Brussels,  1854),  giv- 
ing portraits  of  the  artist  and  his  eleven  collabora- 
tors. 


54  CATALOGUE  OF 

129  Waterloo  medal  (about  1860). 

A  satirical  print  directed    against    the    Empire. 
Printed  in   two   tints. 


FECKERT,  Gustav* 

One  of  the  best  of  modern  German  reproductive 
lithographers  (b.  1820).  His  works,  we  are  told, 
"  show  a  high  degree  of  perfection  and  technical 
mastery  in  entering  into  the  spirit  as  well  as  the 
coloristic  peculiarities  of  the  original."  One  of  his 
finest  productions  is  the  full-length  portrait  of  M. 
Raven6,  from  a  painting  by  Prof.  L.  Knaus. 

130  Forgetting  pain  (about  1857  ?). 

After  L.  Gallait's  "Power  of  Music"  or  "Bohemian 
Musicians."     Printed  by  W.  Korn,  Berlin. 

FRERE,  fidouar d. 

French  genre  painter  (1819-86).  Drew  a  few 
lithographs.  Very  popular  as  a  painter  of  peasant 
children. 

131  Boy  looking  at  prints  (1857). 

"  fid.  Frere,  pinx.  et  lith."  Salon  of  1857.  Printed 
by  Bertauts.     Publ.  in  "  L' Artiste  "  of  1858. 

ANASTASI,  Augusts 

French  landscape-painter  (1820-95.)  Little  known 
to  the  present  generation,  having  been  blind  for 
about  twenty-five  years. 

132  Banks  of  the  Meuse,  at  Zwindrecht, 
Holland  (1857). 

"  A.  Anastasi,  pinx.  et  lith. ' '  Salon  of  1 85  7.  Ber- 
tauts, printer.     From  "  L' Artiste  "  of  1857. 


LITHOGRAPHY.  55 

BOULANGER,  Louis. 

French  (1806-67).  "  One  of  the  Romantic  painters 
par  excellence.  .  .  .  Left  very  curious  lithographic 
work  ...  of  that  romanticism  which  Theophile 
Gautier  called  '  hugolatre  and  racinophobe. '  " — Be- 
raldi. 

133  Paganini  in  prison  (186-?). 

Lith.  by  Lemercier.     From  "L*  Artiste." 


DIAZ  DE  LA  PENA,  Narciso  Virgilio. 

French  painter,  of  Spanish  parentage  (1808-76). 
Did  some  noteworthy  lithographs. 

134  Amorous  madmen  (1860  ?  ). 

Bertauts,  printer,  Paris.     From  "  L' Artiste." 


DUVAL  &  CO. 

A  well-known  firm  of  lithographers,  for  over  thirty 
years  in  Philadelphia.  A.  Newsam  was  the  chief 
artist  of  the  establishment. 

135  Miniature  of  Washington  on  ivory 

(1860). 

After  Mrs.  Sharpless.  Executed  for  J.  J.  Smith  and 
J.  F.  Watson's  "American  Historical  and  Literary 
Curiosities,"  2d  series  (N.  Y,,  i860). 


BRASCASSAT,  Jacques  Raymond* 

French  painter  (1805-67). 

136  Sheep  resting  (Oct.  1,  1860). 

Brascassat,  pinx.  et  lith.  Printed  by  Bertauts, 
Paris.  Published  by  Goupil.  No.  4  in  "  Etudes  des 
animaux." 


56  CATALOGUE  OF 

SABATIER,  L6on* 

French  artist.  From  1827  to  1872  lithographed 
innumerable  "picturesque  views  "  for  various  books 
of  travel  and  descriptive  works  on  Paris,  the  Seine, 
Constantinople,  etc.  "  As  pieces  for  the  portfolio  of 
amateurs,"  says  Beraldi,  "we  find  nothing  to  note  in 
this  inexhaustible  production  but  some  '  Marines ' 
lithographed  in  wash  after  Isabey  and  Le  Poitevin." 

137  View  of  Venice  (about  1861?). 

After  Liem  (misprint  for  Ziem).  Printed  by  Le- 
mercier,  Paris.  No.  174  of"  Les  artistes  contempo- 
rains." 

HOMER,  Winslow* 

American  painter  in  oil  and  water-colors,  and  illus- 
trator (b.  1836).     Has  made  etchings  and  lithographs. 

138  The  coffee  call  (1862?). 

139  The  baggage  train  (1862  ?). 

Both  from  "  Campaign  Sketches,"  (1862?)  lith.  and 
publ.  by  L.  Prang  &  Co.,  Boston.  Crayon  and 
scraper.     Printed  in  one  tint. 

SARONY,  Napoleon* 

Born  in  Quebec,  1 82 1,  the  year  of  the  great  Napo- 
leon's death  at  St.  Helena.  His  father,  an  old  Bruns- 
wicker,had  fought  against  the"  Little  Corporal,"  but 
was  such  an  admirer  of  the  great  warrior  that  he 
named  Sarony  after  him.  He  was  brought  to  New 
York  when  very  young.  At  the  age  of  thirteen  he 
found  his  first  employment  with  the  lithographers 
Risso  &  Brown;  then  with  Robinson.  Before  he 
was  of  age  he  was  employed  by  Nathaniel  Currier, — 
afterward  the  well-known  firm  of  "Currier  &  Ives," — 
with  whom  he  remained  several  years.  On  leaving, 
he  established  the  firm  of  Sarony  &  Major.  The 
name  of  Knapp  was  soon  added.  Their  business  be- 
came very  large  and  profitable.     Sarony,  retiring  in 


LITHOGRAPHY.  57 

1858,  went  abroad  to  study  painting,  which  he  had  to 
abandon  through  the  loss  of  his  fortune,  and,  on  the 
advice  of  his  brother  Oliver,  then  a  successful  pho- 
tographer in  England,  he  took  up  that  art  and  estab- 
lished himself  in  Birmingham.  He  returned  to  New 
York  in  1866,  since  which  time  his  career  has  been 
manifest. 

140  Portrait  of  Napoleon  Sarony  (1863). 

Drawn  by  himself  on  a  lithographic  stone  which  has 
never  been  printed  from,  and  is  most  interesting  on 
that  account. 


MANET,  fidouar d. 

French  founder  of  the  "impressionist"  school  of 
painting  (1832-83).  His  lithographs  are  of  but  slight 
artistic  interest,  apart  from  the  personality  of  their 
author.      See   Edmund   Bazire's   "  Manet "   (Paris, 


141  Title  of  "  Plainte  moresque/'  a  piece 
of  music  for  the  guitar,  by  J.  Bosch 
(about  1863  ?). 

Printed  by  Lemercier  &  Co.,  Paris. 

142  The  gallery  (about  1871  ?). 

Drawn  with  the  brush. 

BARGUE,  Charles* 

French  painter  (d.  1883).  Began  as  a  lithographer, 
and  in  that  capacity  was  awarded  medals  in  1867  and 
1868. 

143  Small  street  of  the  port,  environs  of 
Morlaix  (about  1864). 

After  Hervier.  Printed  by  Bertauts,  Paris.  From 
UU Artiste."     Crayon-drawing,  scraper  freely  used. 


58  CATALOGUE  OF 

GUY,  Seymour  Joseph* 

American  painter  (b.  in  England,  1824). 

144  Certificate  of  contribution  to  the 
Brooklyn  and  Long  Island  Fair  in 
aid  of  the  U.  S.  Sanitary  Commission 

(1864). 

Endicott  &  Co.,  lith.,  59  Beekman  St.,  N.  Y. 

GILBERT,  Addle 

French  painter  and  engraver  (b.  1828).  Began 
to  lithograph  in  1848  and  to  etch  in  1868,  gaining  an 
honorable  position  in  each  field. 

145  Maria.    (1865). 

After  Bonnat.  Salon  of  1865.  Printing  by  Bec- 
quet,  Paris.     A  fine,  honest  bit  of  crayon-drawing. 

BAKER,  Joseph  E. 

American  lithographer,  employed  successively  by 
Bufford  and  the  Forbes  Co.,  two  Boston  firms  of  lith- 
ographers. Has  drawn  portraits  and  theatrical  win- 
dow-posters. 

146  Portrait  of  Edward  Everett  (1865). 

After  photo,  by  Black  &  Case.  Lith.  and  pub.  by 
J.  H.  Bufford. 

BONHEUR,  Rosa. 

Noted  French  animal  painter  (b.  1822). 

147  Head  of  lioness,  with  facsimile  of  a 
letter  from  the  artist,  the  latter  dated 
June  27,  1865. 

148  Sheep  in  the  fold  (about  1866). 

On  tinted  paper.  No  lettering.  Autograph  sig- 
nature of  the  artist. 


LITHOGRAPHY.  59 

COURBET,  Gustave* 

French  painter  (1819-77).  Of  his  few  etchings 
and  lithographs,  Beraldi  says :  "  All  this,  notwith- 
standing the  painter's  name,  is  frankly  bad."  And 
Bouchot  tells  us  that  "  Courbet  treated  lithography 
as  he  did  painting,  with  the  roughness  of  a  peasant 
teasing  a  woman  of  the  world.' ' 

149  The  apostle  Jean  Journet,  setting 
out  to  conquer  universal  harmony 
(about  1866). 

Lith.  by  Vion. 

PIRODON,  Eugene  Louis* 

French  painter  and  lithographer.  Executed  nearly 
600  lithographs,  including  many  reproductions  of 
paintings. 

150  "Victory"  (1866). 

Dog  and  dead  hare.  After  the  picture  by  Troyon. 
Bertauts,  printer,  Paris.  Published  in  "  L' Artiste," 
1866. 

FRIZZELL,  S,  S, 

American. 

151  Elaine  (1866). 

After  W.  M.  Hunt.  Pub.  by  Hendrickson,  Doll 
&  Richards,  Boston.  Crayon,  slight  scraping.  Soft 
effect. 

VERNIER,  fiMILE, 

French  lithographer  and  painter  (d.  1884).  "Ver- 
nier's lithographs,"  says  Beraldi,  "at  first  of  a  credit- 
able color,  finally  fell  into  a  uniform  and  dishearten- 
ing gray." 

152  The  angelus  (about  1868?). 

After  J.  F.  Millet.  Printed  by  Lemercier  &  Co., 
Paris.     Proof  before  letters. 


60  CATALOGUE  OF 

MORAN,  Thomas* 

American  landscape-painter,  etcher,  and  illustrator 
(b.  in  England,  1837). 

153  A  wood  interior  (1868). 

No.  I  of  "Studies  and  Pictures  by  Thos.  Moran." 
Jas.  McGuigan,  printer,  Phila. 

154  South  shore  of  Lake  Superior  (1869). 

From  a  study  made  in  1859.  Only  10  or  12  im- 
pressions taken  when  the  stone  was  accidentally  de- 
stroyed. A  forcible  work, —  and  his  best,  the  artist 
asserts.     Printer  as  above. 

WIANELLI. 

Italian  artist. 

155  Sepulchre  of  the  Sannazzaro  in  S. 
Maria  del  Parto  (about  1869?). 

"  Wianelli  dis.  Forino  litog."  A  good  and  quite 
delicate  example  of  Italian  work. 

BENASSAI,  GIUSEPPE. 

Italian  landscape  painter  (1835-78). 

156  "La  quifcte      Landscape  (1869). 

"Autographic  sketch  by  Giuseppe  Benassai,  of 
Reggio  .Calabria,"  after  the  picture  premiated  at 
Florence  in  1868.  Torino,  lith.  by  F™  Doyen.  Pen- 
drawing,  slightly  filled  in  with  crayon.  A  poor  spe- 
cimen of  Italian  work. 

CHAUVEL,  Thtophilc 

French  painter-etcher  (b.  183 1),  noted  for  his  re- 
productive etchings.  Executed  also  a  small  number 
of  lithographs,  which  are  simply  extraordinary  in 
their  effective  rendering  of  the  brush-work  of  noted 
masters. 


LITHOGRAPHY.  6 1 

157  The  storm  (1869). 

After  Diaz.  No  lettering.  Autograph  signature 
of  Chauvel. 

158  On  the  waves  (1872). 

Generally  known  as  "  The  Phantom  Ship."  After 
a  pastel  by  Charles  Meryon.  ioo  impressions  by 
Lemercier  &  Co.,  Paris. 

159  Cows  at  the  watering-place  (1874). 

After  Troyon.  Proof  before  letters.  The  original 
picture  is  in  the  Walters  collection,  Baltimore. 

DELESSARD,  A. 

French  decorative  and  landscape  painter ;  worked 
in  New  York  for  some  years,  then  returned  to  Paris. 

160  Twilight  (about  1870?). 

A.  Delessard,  pinxt.  and  lith.  Published  by  Geo. 
Ward  Nichols,  756  Broadway,  N.  Y. 

RONDEL,  Frederic. 

Franco- American  painter  (b.  in  Paris  in  1826) ;  has 
lived  and  worked  in  America  since  1855. 

161  Twilight  (about  1870?). 

After  Geo.  Inness.  Published  by  Geo.  Ward 
Nichols,  756  Broadway,  New  York. 

SIROUY,  Achille. 

French  lithographer  (b.  1834),  very  skilful. 

162  Miss  Meyer  (1870). 

After  Prud'hon.  Printed  by  M±g-  Bry.  Proof  be- 
fore letters.  Lettering  in  pencil  by  Sirouy.  "... 
The  pieces  after  Meissonier,  Prud'hon,  Decamps,  and 
Delacroix  give  a  special  importance  to  Sirouy's  work, 
and  place  him  among  the  most  skilful  artists  of  repro- 
ductive lithography." —  Beraldi. 


62  CATALOGUE  OF 

COLE,  Joseph  Foxcrof t* 

American  landscape  and  animal  painter  (1837-92). 
Began  life  as  a  lithographer  in  Bufford's  establish- 
ment, Boston,  where  Winslow  Homer  also  was  en- 
gaged at  the  time,  and  where  Eastman  Johnson  had 
been  before  him.  L.  Prang  &  Co.  published,  in 
1870,  "Album  of  American  Artists  ;  Part  I :  Pastoral 
subjects,  from  the  paintings  of  J.  Foxcroft  Cole. 
Drawn  on  stone  by  the  artist."  It  contained  six 
plates,  which,  together  with  his  "  Pastoral "  and 
"  Pastoral,  No.  2,"  are  believed  to  be  the  only  original 
lithographs  executed  by  him. 

163  Pastoral  (about  1870?). 

J.  Foxcroft  Cole,  pinx.  and  lith.  Print  by  L.  Prang 
&  Co.     Published  by  E.  A.  Doll,  Boston. 

LEGROS,  Alphonse* 

French  painter  and  engraver  (b.  1837).  In  Eng- 
land since  1863.  A  "  Catalogue  raisonne  de  l'ceuvre 
grave"  et  lithographic  de  M.  Alphonse  Legros,  1855— 
1877,"  by  A.  P.  Malassis  and  A.  W.  Thibaudeau, 
was  published  in  Paris  in  1877. 

164  Portrait  of  Champfleury  (1875). 
WHISTLER  James  Abbot  McNeill, 

American-born  painter  and  etcher  (b.  1834  or 
1836).  This  well-known,  talented,  and  eccentric  ar- 
tist shows  his  characteristic  qualities  in  a  number  of 
lithographs,  most  of  them  quite  sketchy.  In  works 
like  his  "  Chelsea  fish  shop  "  he  shows  the  same  light- 
ness of  touch  and  succinctness  as  in  his  etchings,  yet 
to  the  loving  student  of  the  products  of  the  golden 
age  of  lithography  it  may  still  be  considered  an  open 
question  whether  the  lithographic  process  is  especially 
well  suited  to  Whistler.  However,  it  is  a  highly  in- 
teresting matter  to  observe  artists  of  modern  ten- 
dencies striving  to  express  themselves  in  an  art  that 
seemed  so  well  adapted  to  the  artistic  needs  of  the 
period  of  the  "  men  of  1830." 


LITHOGRAPHY.  63 

165  The  toilet  (published  1878). 

Proof  before  all  letters.  Crayon,  stump,  and 
scraper. 

166  The  canal,  VitnS. 

Light  crayon  sketch.     Proof  before  all  letters. 

RIBOT,  Thfcodule* 

French  painter  (1823-91).  "  Th.  Ribot,  sa  vie  et 
ses  ceuvres,"  is  by  L.  de  Fourcaud. 

167  Portrait  of  his  son  (1880?). 

Crayon  and  scraper. 

FANTIN-LATOUR,  Henri. 

French  painter-lithographer  (b.  1836).  "  An  en- 
thusiast in  music,  he  has  undertaken  to  translate 
into  drawings  the  melodic  inspirations  of  Schumann, 
Berlioz,  Wagner,  and  Brahms."  His  vaporous  de- 
signs are  graceful  and  elegant.  See  "  Les  maitres 
de  la  lithographie  :  Fantin-Latour.  fitude,  suivie  du 
catalogue  de  son  ceuvre,"  by  G.  H6diard  (Paris, 
1892),  and  "  Un  peintre  melomane :  Fantin- 
Latour,"  by  R.  Bouyer  (Paris,  1895). 

168  Frontispiece:    the  genius  of  music 

(1881). 

Winged  figure  bearing  tablet  inscribed  with  the 
names  of  Schumann,  Berlioz,  Wagner,  and  Brahms. 
Salon  of  1 88 1. 

169  "  After  the  portrait  which  I  made  of 
myself  at  the  age  of  17  years.  H. 
Fantin  "  (1892). 

170  To  Stendhal  (1892). 

A  winged  female  figure  decorating  the  tomb  of 
Henri  Beyle  with  flowers.  Printed  by  Lemercier, 
Paris.  These  three,  like  all  his  lithographs,  are 
done  in  crayon,  freely  scraped. 


64  CATALOGUE  OF 

CHARTRAN,  Theobald. 

French  portrait-painter.  Visited  America  in  recent 
years.     Executed  a  series  of  portraits  on  stone. 

171  Portrait  of  Carolus  Duran  (1885). 

Crayon,  with  some  scraping. 

VERGNES,  CAMILLE. 

French  lithographer.  Since  1881,  has  exhibited 
various  reproductions  of  paintings  by  contemporary 
painters,  with  much  success. 

172  Portrait  of  Leon  Cogniet  (1886). 

After  Bonnat.  Proof  before  letters.  Autograph 
signature.     An  effective  and  honest  piece  of  work. 

DETAILLE,  Edouard. 

French  painter  and  illustrator  of  note  (b.  1848). 

173  Sketches  of  Zouaves,  etc.  (1886). 

Autograph  note :  *  Trial  lithograph,  of  which  twenty 
impressions  were  made.  Not  placed  on  the  market. 
E.  Detaille." 

174  Artilleryman  standing  guard  over  a 
cannon. 

Autograph  note:  "  Separate  impression  of  a  litho- 
graph made  for  a  military  publication,  not  to  be  found, 
and  published  for  a  charity  festival.  Separate  im- 
pression, very  rare.     E.  Detaille.,, 


ISRAELS  Josef. 

Dutch  painter  (b.  1824). 

175  Winter,  also  in  life  (1890). 


LITHOGRAPHY.  65 

MAUROU,  Paul. 

French  (b.  1848).  Has  attracted  much  attention 
by  his  large  portrait  heads,  executed  in  a  vigorous 
and  masterly  manner,  such  as  his  "  Mounet-Sully  as 
Hamlet,"  after  J.  P.  Laurens  (1889),  gaining  a 
medal  for  his  work. 

176  Thomas  of  Aquinas  (1890). 

After  Laurens.  Salon  of  1891.  Proof  before  all 
letters.  Thirty  impressions.  Autograph  signatures 
of  Laurens  and  Maurou. 


BAUER,  M. 

Contemporary  Dutch  artist  of  advanced  tendencies. 

177  The  caliph,  accompanied  by  a  nu- 
merous escort  (1891). 

A  plate  from  "  La  16gende  de  St.  Julien  l'hospi- 
talier  "  :  ten  lithographs  after  Gustave  Flaubert  (La 
Haye,  1891),  twenty  copies  only.  Vague  in  draw- 
ing, like  all  his  work. 


REDON,  Odilon. 

French  artist  (b.  1840).  A  symbolist,  whose 
mystical  and  fantastic  conceptions  on  stone  have 
found  some  admirers,  but  are  undecipherable  to 
common  mortals.  Jules  Destr^e  has  compiled  a 
"  Catalogue  descriptif  des  lithographies  de  Redon." 

178  Eyes  closed  (1891). 

Fifty  impressions.  "  Redon's  best  piece ;  it  is 
perfectly  comprehensible. ' ' — Beraldi, 

CASS  ATT,  Mary. 

American  painter  and  etcher,  living  in  Paris. 
9 


66  CATALOGUE  OF 

179  Lady  in  opera-box  (1891). 

Autograph  note  by  the  artist:  "...  This  early 
and  only  attempt  at  lithography.  Five  proofs,  stone 
effaced.     May,  189 1."     Crayon  and  scraper. 

LUNOIS,  Alexandre, 

French  (b.  1863);  has  passed  at  a  bound  into  the 
very  first  rank  of  contemporary  lithographers.  He 
juggles  with  his  medium,  at  times  producing  an  as- 
tonishing resemblance  to  process  copies  of  wash 
drawings,  but  in  his  reproductions  of  work  by  Dau- 
mier,  Ulysse  Butin,  etc.,  he  suppresses  his  identity. 

180  Nocturnal  adoration  of  the  Holy  Sa- 
crament (about  1892). 

Proof  before  all  letters.  6  impressions  of  this 
state.  Autograph  signature.  Done  with  brush  and 
scraper. 

CHERET,  Jules, 

Noted  French  designer  of  posters  (b.  1836).  His 
work  is  marked  by  verve,  elegance,  a  certain  French 
esprit,  and  a  maximum  of  effect  with  few  colors. 

181  A  plate  from  "  L'Estampe  originale  " 

(1892). 

Printed  in  brown. 

DAGNAN-BOUVERET,  Pascal  Adolphe 
Jean* 

French  painter  (b.  1852). 

182  Adoration  of  the  shepherds  (1892). 
DILLON,  Henri  Patrice* 

French  lithographer,  essentially  of  to-day. 

183  Plate  from  a  series  of  months  (1892). 

Proof  without  lettering.     Signed  in  pencil. 


LITHOGRAPHY.  67 

184  Landscape,  pool  in  foreground 

(1893). 

Proof  without  lettering.  Remarque.  Crayon  and 
brush  were  tried  on  the  margin,  shown  in  this  im- 
pression. 

BESNARD,  Albert. 

French  painter,  noted  for  his  chromatic  vagaries 
(b.  1849). 

185  Death  at  the  door,  surprising  a  fam- 
ily at  table  (about  1893). 

From  "L'Estampe  originate."     No  lettering. 

PUVIS  DE  CHAVANNES,  Pierre. 

French  decorative  painter,  (b.  1824). 

186  Plate  from  "L'Estampe   originate " 

(1893). 

Figure  of  woman,  seated,  with  Phrygian  cap.  Clift 
and  view  of  sea  in  background.  Printed  in  brown. 
No  lettering. 

ROBIDA,  Albert. 

French  draftsman  and  writer  (b.  1848).  A  "de- 
scriber  of  manners  "  and  caricaturist;  of  a  "  caprici- 
ous verve,  a  singular  fancy,"  somewhat  bizarre  in 
style,  and  very  prolific. 

187  Old  building  on  a  cliff,  possibly  in- 
tended for  Mont  St.  Michel  (1893). 

WICXENDEN,  Robert  J. 

American  painter,  living  in  France. 

188  The  return  of  the  flock  (1893). 

Remarque  proof,  before  all  letters.  Autograph 
signature. 


68  CATALOGUE  OF 

DESBOUTIN,  Marcellin. 

French  painter-etcher  (b.  1822).  Has  executed 
genre-subjects  and  many  portraits  in  dry-point. 

189  Portrait  of  himself  (about  1894). 

From  "Album  des  peintres-lithographes."  No 
lettering.     Loosely  handled. 

BRACQUEMOND,  Felix. 

French  artist  (b.  1833).  Began  his  art-life,  when 
quite  young,  in  a  lithographic  establishment.  Best 
known  as  an  etcher  of  great  talent  and  originality. 

190  Nude  female,  in  woods,  reaching  for 
fruit  hanging  over  her  head  (1894). 

Autograph  signature.  No  lettering.  Crayon; 
scraper  slightly  used. 

191  Female  bather  (1894). 

Second  state.  No  lettering.  Autograph  note  by 
the  artist :  "  Lith.  sketch,  made  in  order  to  try  the 
color  values  which  the  crayon  gives  for  each  color." 
Crayon;  some  scraping. 

BUHOT,  Felix. 

French  painter  and  etcher  (b.  1847).  "Buhot," 
says  Beraldi,  "has  a  note  of  his  own,  full  of  life  and 
very  modern." 

192  Jean  Buhot  (Sat.,  July  16, 1894). 

Portrait  of  a  boy.  As  in  many  of  his  etchings,  the 
broad  margin  is  filled  with  sketches  and  crayon-marks. 
Autograph  note  by  the  artist :  "  Sketch  from  nature 
on  paper  (transferred  to  stone).  25  impressions 
(stone  destroyed)." 

HERKOMER,  Hubert. 

German  painter,  composer,  etcher,  and  what  not, 
an  artist  of  much  versatility  and  force.  Born  1849  m 
Munich ;  lives  and  works  in  England. 


LITHOGRAPHY.  69 

193  Spring  song  (1894). 

One  of  a  small  series  of  illustrations  for  a  musical 
composition  of  his  own.     Crayon  and  scraper. 

GEOFFROYJean. 

Well-known  French  painter  of  child-life  (b.  1853)* 

194  Heads  of  two  children  (1894). 

From  the  "Album  des  peintres-lithographes." 
No  lettering.  Almost  pure  crayon-work.  Little 
scraping. 

GCENEUTTE,  Norbert. 

French  painter-etcher  of  Parisian  subjects  (1854-94). 
He  had  much  talent  and  did  numerous  etchings  and 
dry  points. 

195  Figure  of  woman,  in  hat  and  cloak 

(1894), 

1st  state;  3  impressions.  Broad  margin  on  right 
filled  with  rough  sketches,  and  marks  made  in  trying 
the  crayon.     No  lettering. 

STORM  VAN  'SGRAVESANDE, Charles. 

Dutch  etcher  (b.  1 841). 

196  Marine,  with  small  sailing  vessels ; 
city  in  background  (1895). 

Autograph  signature.  Crayon ;  a  few  scratches 
with  scraper.  While  reminding  one  of  the  succinct- 
ness and  simplicity  of  method  in  the  artist's  etchings, 
this  lithograph  does  not  seem  to  show  the  same  sure- 
ness  of  touch  born  of  absolute  familiarity  with  the 
medium. 

MUYDEN,  Evert  van. 

Born  at  Rome,  of  Swiss  parents,  1853.     Lives  in 
Paris.     Noted  etcher  of  animal  subjects. 
IO 


70  CATALOGUE. 

197  Lion  reposing  (1895). 

Signed  autograph  note  by  the  artist :  "  Only  20 
impressions.  Stone  destroyed."  Crayon;  touched 
up  with  the  pen. 

198  Lion  attacking  buffalo  (1895). 

Original  lithographic  drawing  in  wash,  pen,  and 
crayon,  on  prepared  paper.  This  drawing,  in  its 
present  state,  may  be  transferred  to  a  lithographic 
stone  and  printed  from. 


INDEX  OF 
ARTISTS  REPRESENTED. 


(The  figures  refer  to  the  numbers  of  the  exhibits, 
not  to  the  pages.) 


ACHENBACH,  A.      127. 
ACHENBACH,  O.      84. 

Adam,V.    50, 91. 
Alarmi,  A.  d\     See  Dal- 

ARMI,  A. 

Anastasi,  A.     132. 
Aubry-Lecomte.    23, 24. 
Avignon,  F.  d\   113, 114. 


Baker,  J.  E.     146. 
Bargue,  C.     143. 
Barye,  A.  L.     115, 
Bauer,  M.     177. 
Baugniet,  C.    87. 
Bellange,  H.    59. 
Benassai,  G.     156. 
Besnard,  A.     185. 
Bichebois,  L.  P.  A. 
Bida,  A.     119. 

BODMER,  K.      92,  93. 
BOILLY,  L.      44. 
BONHEUR,  R.       I47,  I48. 
BONINGTON,  R.  P.    34,35. 
BOULANGER,  L.       I33. 

Bracquemond,  F.      190, 

191. 

Brascassat,  J.  R.     136. 


u6. 


50. 


Bresdin,  R.     124,  125. 
Buhot,  F.     192. 

Calame,  A.     100, 101. 
Cassatt,  M.     179. 
Chaplin,  C.     hi,  112. 
Charlet,  N.  T.    39. 
Chartran,  T.     171. 
Chauvel,  T.     157-159. 
Cheney,  J.    47, 48. 
Cheret,J.     181. 
Chevallier,   G.    S.    See 

Gavarni. 
Chien-Caillou.    See 

Bresdin,  R. 
Cole,  J.  F.     163. 
Cole,  T.     109. 
Colin,  A.  M.    52. 
Courbet,  G.     149. 
Crawley,  John,  Jr.    61. 

Dagnan-Bouveret,  P.  A. 

J.     182. 
Dalarmi,  A.     7. 
Danjoy.      85. 
Daumier,  H.     74,  75. 
David,  J.     85. 


72 


INDEX. 


D'Avignon.  See  Avig- 
non. 

Decamps,  A.  G.    56,  57. 

Dekker,  H.  A.  C.     121. 

Delacroix,  E.    40-42. 

Delessard,  A.     160. 

Desboutin,  M.     189. 

Detaille,  E.     173,  174. 

Deveria,  A.    54. 

Diaz  de  la  Pena,  N. 
V.    134. 

Dillon,  H.  P.     183,  184. 

Dore,  G.     120. 

Dupre,  J.     78. 

Duval  &  Co.     135. 

Eichens,  P.  H.     103. 
Ekeman-Allesson,  L.  28. 
Endicott.    61. 
Engelmann,  G.     18. 

Fantin-Latour,  H.  168- 

170. 
Feckert,  G.     130. 
Fenderich,  C.    97. 
Fischer,  J.    5. 
Frere,  E.     131. 
Frizzell,  S.  S.     151. 

Gallait,  L.     1 10. 
Gavarni.    88-90. 
Geoffroy,  J.     194. 
Gericault,  T.    31. 
Gilbert,  A.     145. 
Ggeneutte,  N.     195. 
Goya  y  Lucientes,  F.  J. 

de.    38. 
Grenier,  F.    26. 
Grevedon,  H.    55. 
Gros,  Baron.     19. 
Gudin,  T.    53. 
Guy,  S.  J.     144. 


Hanfstaengl,  F. 
77. 


3,76, 


Harding,  G.  P.    86. 
Harding,  J.  D.    29,  30. 
Herkomer,  H.     193. 
Hervier,  A.     123. 
Hesse,  H.  J.    49. 
Homer,  W.     138,  139. 
Huet,  P.    80. 

HULLMANDEL,  C.  J.      33. 

ISABEY,  E.      71,  72 
ISABEY,  J.  B.      27. 

Israels,  J.     175. 

Jacob,  N.  H.    2. 
Jacque,  C.  106,  107. 

JULIEN.      108. 

Kreins,  H.  A.    96. 
Kriehuber,  J.     104,  105. 
Kruger,  F.    36, 37. 

Legros,  A.     164. 
Lemud,  A.  de.    94,  95. 
Llanta,  J.  F.  G.     102. 

LOWSTADT,  C.  T.      32. 

Lunois,  A.     180. 

Madou,  J.  B.    69. 
Manet,  E.     141,  142. 
Massai,  P.     10. 
Maurin,  N.  E.     70. 
Maurou,  P.     176. 
Menzel,  A.    81-83. 
Millet,  J.  F.     118. 
Moran,  T.     153,  154. 
Mouilleron,  A.     117. 
Muyden,  E.  van.  197,198. 

Nanteuil,  C.  126. 
Newsam,  A.  63-65. 
Noel,  L.    62. 

Odevaere,  J.  D.     13. 
Orlowski,  A.     51. 
Otis,  B.    22. 


INDEX. 


73 


Peale,  R.    45,  46. 
Pendleton.    60. 
Pettenkofer,  A.    98. 
Piloty,  F.    9. 

PlRODON,  E.  L.      150. 

Prout,  S.    25. 

PUVIS  DE  CHAVANNES,  P. 

186. 

R.  .  .     II, 

Raffet,  A.     66-68. 
Redon,  O.     178. 
Ribot,  T.     167. 
Robert,  L.     58. 
Robida,  A.     187. 
Rondel,  F.  161. 
Rops,  F.     128,  129. 
Rude,  F.    79. 

Sabatier,  L.     137. 
Sarony,  N.     140. 

SCHINKEL,  K.  F.      14. 


Senefelder,  A.    1-4. 
Sirouy,  A.     162. 
Soulange-Teissier,      L 

E.      122. 

Storm      van     's  Grave- 

SANDE,  C.      I96. 
SUDRE,  J.  P.      43. 

Veith.    73. 

Verboeckhoven,  E.    99. 
Vergnes,  C.     172. 
Vernet,  H.    15-17. 
Vernier,  E.     152. 
Vigneron,P.  R.     20,21. 

Wagenbauer,  M.  J.    6. 
Whistler,  J.  A.  M.    165, 
166.      J  * 

WlANELLI.      155. 
WlCKENDEN,  R.  J.      188. 

Winter,  R.    8. 

WlNTTER,  H.  E.      12. 


s  o  4  5  i  s* 


